This digital artwork was part of Maroz’s 2020 exhibition The Long Way Home at the National Center for Contemporary Arts in Minsk, which focused on the influence of social and ideological norms of modern Belarus and specifically the heritage of traditional Belarusian culture and collective memory. The image represents a woman caught up in a digital grid of what appear to be jail bars, while the marks on the right represent the common counting practice of sets of fives. The exhibition, which ran during the 2020 election season, was closed early in protest by the artist shortly after 9 August 2020. The title of the exhibition, The Long Way Home, alludes to the memoirs of prominent Belarusian writer Vasil Bykau (1924–2003). The project installation represented an allusion to the interior of a traditional house in the Polesia region, reflecting not only on the visual component of folk culture but also presenting a sacred knowledge channeled into the attributes of interior decoration and the everyday, materializing the philosophy of home-creation and the organization of the living space.