The project aims to challenge prevailing perceptions of time and explore how the immaterial consciousness is constrained by its physical vessel. The continuous act of burying a clock symbolizes the relentless cycle of time, mirroring the human experience of procreation, where time both ends and revives.

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In 1922, a notable debate unfolded between philosopher Henri Bergson and physicist Albert Einstein regarding the nature of time. Bergson argued that time, as measured by a clock, required validation, emphasizing the inner experience and meaning. Einstein, however, asserted that time, from a philosophical standpoint, is an illusion. The contemporary dominance of Einstein's perspective reflects the ascendancy of science over philosophy. Today, our understanding of time is deeply influenced by natural science, positioning time as an objective measure with a definite beginning and end. Efficiency became the primary pursuit in the industrialization era, as humans relinquished control over time to absolute timekeeping machines, gradually becoming subservient. Driven by desire, time appears to accelerate, with individuals grappling for fleeting moments and lamenting the monotony of repetition.

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In "The Relentless Funeral," the age-old debate between Bergson and Einstein is creatively explored through auto-destructive art. Myths and paradoxes about endless time are narrated through the use of slime as the main material, symbolizing artistic techniques characterized by flexibility, viscosity, and inclusiveness. The introduction of vacuum-coated technology creates a blurred interface, confronting the audience with their consciousness and embodying the analogy between a lifetime and the duration of time. An iconic color is applied to evoke the audience's inner experience. Through the dematerialisation of time and embodiment of consciousness in materials, the mystery of modern material science is presented to the audience through their eyes, ears, or purely their minds.