As we entered the room, the gallery attendant cryptically advised us not to touch the sides. We found ourselves walking along a metal, industrial sort of catwalk that appeared to be suspended in a large clinical warehouse-type space that seemed to have perfect horizontal symmetry. The skylights above were mirrored down below and the room had an airy feeling of space and emptiness... but something was not quite right. It felt like walking into an etching by MC Escher. It looked believable, but yet not quite real. Then I noticed a fine, gossamer-like network of what I took to be filaments catching the light, spreading from the edge of the ‘catwalk’ to the walls. I deduced that it must be the surface of a mirror, though it was almost invisible.
So 20:50 makes it to the number one spot in my top ten pieces of art for a number of reasons, but mainly because of that moment of primary experience when my mental pancake was flipped. A moment at the end of a challenging and entertaining show, shared with two very important people in my life when we were emphatically instructed that art could change the way you see the world and the world may not always be quite what it appears to be. Theory and intellectualising could not alter or challenge the effect, the response was experiential, emotional, undeniable – like most profound moments in life.