Brovall's meandering tunnels in Home Tunnel, she states, were influenced by her visit to the nearby Cu Chi Tunnels, built by the Viet-Cong guerillas during the Vietnam War. Thousands of Vietnamese people lived in these tunnels during the war with the US. Brovall claims that the house in Home Tunnel "is in one way the earth in which [her] tunnels make their way." Brovall has offered the viewer a route through her artwork; a path to wherever the participant may have desired to go; irregardless of the dangers within the structure. Brovall's tunnels offer a buffer or comfort zone and may act as a metaphor for how one moves through a dysfunctional home. The tunnels are emblematic symbols which personify one's desires to reject the present situation before the viewier of both violently altered and staged furniture and traps. Her tunnels metaphorically dig through the impossible arrangements and like the Viet Cong war erected structures are built as protectors "staying and fighting" for the people caught within.

With the creation of Home Tunnel, Brovall has continued to carry out a sculptural tradition dating back to Marcel Duchamp and his ready-mades while also citing other movements like Arte Povera. Wherein the latter movement celebrated the use of common materials, her work also considers themes by such contemporary artists like Thomas Hirschhorn. In regard to the latter, Hirschhorn has produced kiosk-like installations composed of common objects which celebrate the art of assemblage. By cobbling together common objects in a way that is both modest and at odds with itself, artists like Brovall and Hirschhorn have achieved a far more tactile means of interaction than that offered by viewing art on the Internet. Brovall selects materials she can negotiate in scale and form opting not to concentrate on other time consuming or labour intensive techniques considered with the history of sculpture. It is hard for the viewer not to feel a certain liberation at looking at her constructions which redefines how everyday assemblages may be considered. Her lowbrow aesthetic reflects creativity in its most frugal nature. Brovall has elected that her assemblages be created without expensive equipment or technology while stilling producing an artwork which can reflect the human psyche. Brovall's throwaway structures parody commodity and entertainment. Indeed her works are both entertaining and driven by the juxtaposition of commodity-based products being placed in tandem together.

Brovall shares with Hirschhorn the same kind of basement workshop aesthetic. Hirschhorn's installations have a relational clubhouse feel to them whereas Brovall's Home Tunnel builds in absence of this dialogue. Home Tunnel is seemingly based on what I will call a wider social context, however, it can also be read as a deeply personal journey in which Brovall positions herself and her placement within in the world. It is a strategy for the artist to explore her own subjectivity in relation to other people and things. Brovall's work can be read as a non-work in that it projected its own synergies whereas her inanimate objects appear to have autonomous qualities. The displacement and rupture of the functionality of comforting objects into objects of violence created through the detourné causes a tension and energy that metaphorically parallels the associated actions of the tunnels, each person is digging a path of its own.

Home Tunnel can be seen as perplexing and exciting. Is it a type of cultural exchange, bringing Europe to Asia? Or is it a mixed portrayal of Western dysfunctional home re-emerging a Southeast Asian country? Perhaps this concept is at odds with Vietnam, a place where the family is central to the social economy and is well-being. Alternatively, the work could project a forewarning as to how easily it is to carve out resources, by piercing and reconfiguring them in order to reach Western world standards. Ultimately, I feel the reading of Home Tunnel is contingent on reading the geography of Vietnam. Vietnam's past is embodied in Brovall's work. The battle raging within Home Tunnel and its survival tunnels can be compared to the efforts of the Vietnamese to survive the war. In response to the Vietnam war, locals lived in their own unmediated version of Home Tunnel in order to survive. The distinction between life and art may have blurred for local viewers experiencing this work in 2005, some thirty years after the war. For Brovall, the work also blurred art, reality, and life as she lived in Home Tunnel as a dwelling during exhibition time frame. Ultimately, Brovall's incorporation and juxtaposition of commonplace objects blurred the boundaries between life and art, thus, enabling viewers to question how meaning and action are created within this context.