Familiar furniture, warm-colored patterns and aesthetic utility objects make Panni Marosi‘s (1994) interiors feel homely at first. However, after a longer observation, the deliberate ambiguity of the spatial relationships and proportions, the liquid dance of the plastic forms make the images similar to a psychedelic vision associated with an inner journey. The details, observed with a high degree of realism and painted with sensual brushwork, do not come together into some kind of hyperrealistic overall picture, but turn into a fairytale-like coloring book bearing the hallmarks of the surrealistic visual world of visions, dreams, and subconscious experiences. This interpretation is strengthened by the arrangement of the rooms, reminiscent of the forced homeliness of the stage-like psychotherapy clinics, in which the precious pieces of the visual culture and design of our past, as accessories burned into our collective memory, transport us to the idealized time of our childhood. In his pictures, we can often recognize small quotations from the works of artists held in high esteem by the artist. We can notice classic “picture in picture” scenes, or even specific compositional solutions, among others from the often stage-like compositions of Giorgio de Chirico, the founder of metaphysical painting. The artist invites us into the resulting surrealist interior, so that we can sink into the relaxed state in which the associations and ideas created by the painting can flow freely in our minds, reflecting on our own past.