Way Out is a work that simulates a segment of the Blackwood forest. It is an indoor representation of multiple planes of vegetation, stretching deeper in the forest, highlighting the depth of the specific woodland scene, until our sight reaches the end of the forest or unobstructed view. Seven black wooden frames are bandaged with a black ribbon, with different patterns in every frame, partially obstructing viewers’ perspective with each frame. As the ribbon pattern gets denser, the openings smaller, but focused, our view is concentrated towards the end of the frames where the light awaits. The undisputable dramatic quality of the forest is exaggerated through the man-made planes that imitate typical theatre set with multiple backdrops. The movement frames create is another element of the work. Suspended in the air, frames are moving depending on the air fluctuation around them, creating a moiré pattern as an interaction between them.

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Ultimately, this work further explores traditional ecological knowledge appropriated within our western culture. As Tsing explains in multiple paragraphs in The Mushroom at the End of the World, there is a significant difference between traditional, eastern, and western forest managing practices. Without inherit collaboration between a forest and people who live in it and out of it, human and natural landscapes become separate entities. Way Out is dedicated to the communities that associate themselves with the forest, celebrate the spiritual side of the forest, orient in it, but most importantly, know when and how to get out of it when it's time to do so.