Excerpt from the exhibition catalogue published on the occasion of the exhibition 23 March – 15 July 2007

While generalist opinions on cultural, social, political and environmental conditions may provide a summary of
state, much is lost in the edit. A multitude of day to day possibilities are disregarded in favour of more easily digested and often sensationalised extremes from which these opinions are formed.
Experiences of working in Tehran and living on the Gold Coast have altered my own perceptions on existence
inside and outside of either city. 

An impression of the self, the opinions of another, neither is a true reflection, much is lost in the edit.
— Mandana Mapar

Catalogue introduction -

One measure of the confidence and energy of a city’s culture is the level of support and encouragement it gives to young artists to develop and push the boundaries of their creativity. For young visual artists the opportunity to exhibit their work in ways which will bring it to the attention of collectors, curators, editors as well as the general public, is the thing they desire most. Over the past twenty years the ‘Churchie Emerging Art Exhibition’ has been one of the main support mechanisms for young artists in Brisbane. Founded in 1987 by a group of parents associated with the Anglican Church Grammar School, with advice of local art patrons, collectors and gallery directors, the exhibition, affectionately known as ‘The Churchie’, has become an important fixture in the Brisbane arts calendar.
To mark the twentieth anniversary of ‘The Churchie’ the Museum of Brisbane has selected twenty artists who have exhibited in the exhibition over the years and asked them to address the theme 20/20. Twenty years, twenty artists. In some way the artists in this exhibition represent a cross-section of the visual arts in Brisbane in the past two decades.
Many of the artists have responded to 20/20 as a description of perfect vision and from this point have gone on to comment on various aspects of vision and perception, as well as variants such as cultural vision, emotional vision and perception conditioned by memory and history.
For others the number twenty has a particular resonance such as a twenty year project, a view from twenty miles above the earth, twenty birthdays, a twenty minute camera exposure, one day cricket, geometric structures based on repetition of twenty or the imagined history of female relatives when aged twenty. Each work is accompanied by a statement by the artist, which indicates how they responded to the theme of 20/20.

— Frank McBride