Our initial idea of our purely physical exposure, meant our setting was crucial. We formulated the idea to present our forms of varied nudity in a very public transparent corridor. Its crucial setting was that it was non-framed by the theatrical, safety, provided by the LPAC. We felt to get a fully honest reaction and to be able to push ourselves into revealing, as much physically as we could that we had to be presented to not explicitly drama students and staff. The corridors setting in the middle of a university campus meant the observers would be from varying ages and from different departments. The corridor was based in a position that incorporated art and creativity, as it was located between the art and articheture building, but we began to see its limitation in its potential to present and more verbal exposure.

We found the studio setting began to become crucial logistically to the technical elements we needed to give the piece a soul, the barrier the corridor presented, created distance ourselves from the observers, and even though the glass windows framed us it blocked a connection and human reliability as we felt when stood in the space like a doll in a box, due to the frame and transparent barrier. When in the studio we wanted to create a space that allowed no room for the audience to shy away from the piece, the idea that the space was unnerving due to its intensity meant the only way to shelter themselves from the video and the physical exposure presented was to leave. The space created was a third of the studio black boxed by flats. The door way was a frame, its durational nature was reinforced through this accessibility to seaminglessly entering and leaving. The projections of the video and countdown clock were shown on a black wall opposite the framed entrance. A sofa was in the furthest corner placed facing the film. This suggestion of comfort was placed in the corner so the audience would have to move amongst the reminants of makeup whipes, shoes and removed articles or clothing. This teamed with the performers around the space, meant the desicion to reach the sofa involved feeling they could travel through levels of discomfort and an allusive space In which the lines between audience and performer had been heavily blurred.

The space became instrumental in our execution of the performance, highlighted notably of the physical protection we created around one of the performers when she was visibly upset and her video. The space enabled us to shelter her and block her from the video, which created a powerful visual aspect that the audience due to lighting and space could witness. This unplanned moment was formed in front of a black flat which created a strong performative aesthetic, it was framed in the use of the singular panel directly in front of the video, which meant we were framed lighting aspect even more so, from the light from the film.The exposure of this sheltering formation was key to the audience getting a deeper insight to the moments of pain felt by us as a group for other performers during this experience. It could not be escaped.