Rushemeza's work brings to mind the deteriorating colonial buildings she witnessed on the coasts of Côte d'Ivoire and Ghana in her youth and suggests polarizing histories imprinted in the different layers of her “sculptural paintings.” The metal detritus along with the loose handling of the many layers of paint, revealed through a process of sanding and carving, contrast greatly with the rigid patterns inspired by Imigongo paintings — an art form that emerged at end of the 18th century in the Kibungo province (South-East Rwanda) and consist of traditional geometric designs created using calf dung. All of the components in the resulting terrain of Rushemeza’s work create objects that suggest the works have been excavated from an old colonial structure and represent a small part or puzzle piece of a larger mass.

This work, particularly present in the video made for her exhibition at the Museum of Contemporary African Diasporan Arts in Brooklyn in 2013, references Matisse's painting of a Reclining Nude.