Collaborative performance and installation, Scarlet Winter and Leyla Rees, 2009 Wooden frames, mirrors, canvas, video projection, spotlights, aerial rig and hoop  ' The picture frame is a line of demarcation between the real and unreal... A frame can be a gateway between worlds. It can hold the secret to whether something is authentic or fake and stands as more than just a decorative boundary'   Paul Hazelton, 'Post Historic Art' Artartart Issue 4, 2009  An octagonal structure comprised from framed glass panes, mirrors and canvases stands tall dominating its audience. Shadows projected onto the canvas frames suggest the presence of an internal performance. By looking through the glass frames the viewer catches fleeting glimpses of an aerialist bathed fragmentally and sporadically in spotlight. Panopticon explores themes of stage, power, illusion and intimate spectacle. Simultaneously serving the roles of watch tower, prison and stage, Panopticon questions the balance of power between audience and performer. Drawing from Foucault's writing on imprisonment and the docile body, Panopticon challenges the traditional passive role of the audience, actively conditioning the viewer and seduces the viewer into becoming a part of the performance.  

 The spectators gaze at the empty stage is pregnant with unexplored, unexploited, un-awakened energies.  Theatre time is a territory, it's framed out, limited and has a value. Before show starts every future moment of it has presupposed value against which the stage will play. ' Unlock My Potential' explores the nature of the potentiality of the theatre space. Through architectural and scenic devises, the work draws the spectator in.  As in theatre, through an intimate dichotomy the potential of the space is unlocked by the desire of the spectators gaze.  The product of this union between spectator and stage is manifested in a seemingly unformed grotesque 'almost body' whose potential clockwork energy can only be unlocked by the viewer's action.