Working directly onto the signature grey-plastered walls with illusionistic paintwork, Christopher Page has turned one of the building’s dramatic rooms into a brooding stage-set suggestive of a grand interior in which the reflection-less mirror and depthless sky might have swallowed the protagonist. Interior. (Evening.) is not simply theatrical, however, but a meditation on the intersection of painting and architecture, image and space. Buildings are spaces that can be seen as images —arrangements of flat façades—while paintings are images that have volume and exist in space, and Page’s paintings play on the border between these two registers. His illusory windows look out onto a sky that appears both infinite and claustrophobically near, his painted mirrors seem to reflect space and yet also erase it. In highlighting this perceptual dissonance, Interior. (Evening.) asks us to look closer at the built environment that we navigate, to examine how our surroundings are stage-managed – a timely consideration as we emerge from our own interiors, that may themselves have come to feel uncanny, and reacquaint ourselves with the estranged space of the city.