The title of the work was created thanks to comparisons of the reactions of friends and colleagues with the goals and intentions of the author regarding the realization of the final work. Reactions of the observers are important to the author because she creates works that are themselves a reaction to the environment and everyday life, whether that reaction occurs as a conscious one during the work, or occurs only later when the work is finished. The structure of the form represented in the work is not meaningfully active for the author until she and/or the observer decides to focus on its reading. A large part of the work is associations to which the author herself is largely subject. The titled work associates toys, entrails, organs, linen... By combining these associations, we get new ones: for example, someone's comparison with organs and someone else's comparison with linen can be combined by the observer into a vision of organs trapped in linen, or into the sexual charge of organs that we usually imagine when we connect them with the context of bedding. The work has elements that arouse the sense of touch, attract viewers to touch and explore it, arouse curiosity. It is laid out on the table like a pile that is falling off or is the remains of a dissection. While the texture and material evoke comfort and softness, the colors and shapes oppose it, causing a subtle discomfort. It is pointed out that comfort hides fears and perversions that are sometimes difficult to shape and that can suffocate an individual. The work is focused on issues of hybrid forms in art and their anchoring in psychology, and inspired by the works of Louise Bourgeois, Sarah Lucas, Mike Kelley and Robert Morris.