In "20/20 Blake" paintings and engravings selected from throughout Blake's productive life appear onstage as projected stage sets. The audience wear 3D glasses to experience stereographic illusions created from digital manipulations of the paintings and engravings enabling live performers to appear in the artworks. The text is based on Blake's writings, "The Marriage of Heaven and Hell", "The Book of Thel", "The Book of Urizen" and "The Song of Los". Lyrics from Blake's prose and poetry are drawn from his complete works. William Blake (1757-1827) was not a man of his time. Though a visionary artist and romantic poet responsible for introducing novel methods for merging visual and poetic imagery Blake favored the sensibilities of antiquity over the prevailing aesthetics of the pre-industrial age of reason and science that defined the London of his contemporaries. Largely ignored by the general public and thought mad by some who knew him, Blake kept faith with his visions, never doubted their reality and addressed some of his art directly to, "Children of a future age". According to Blake, spirits regularly appeared to him including the soul of his deceased brother Robert, a false God of fear and punishment called Urizen, the ghost of a flea, and the giants, demigods and Goddesses, Los, Thel, and Enitharmon to name a few. Skirting the edge of poverty through most of his life and eking out a living as an engraver for hire with his wife and assistant Catherine, he was once compelled to accept payment from the commercial importer Wedgewood to illustratrate a tea service in a catalogue of fine china. Though Blake claimed to have experienced apparitions of the characters he pictured in his paintings and engravings it is through his prophetic books and poems that he commands the reader to "...see a World in a grain of sand Heaven in a Wild Flower, Hold Infinity in the palm of your hand and Eternity in an hour". The visions and voices depicted in "20/20 Blake" are drawn from the many metaphysical encounters Blake was engaged in throughout his life and work. His iconoclastic irreverence toward natural science and organized religion were expressed in his many reworkings of biblical themes and archetypes. Blake ridiculed Old Testament notions of a stern authoritarian God by depicting Him as a tottering and decrepit deity named, Urizen, (a play on 'your reason') often pictured with Iaasak Newtons measuring compass artificially dividing the human from the divine. Christ, on the other hand, is often pictured as a sensual and herculean metal worker named Los who is unaware of his divinity and sometimes chained to a rock. In Bakes prophetic poem "The Book of Thel" a Goddess by the same name longs to learn about things of the flesh while in "The Marriage of Heaven And Hell" (1790) moral codes are ridiculed for, "cursing the fairest joys". In a series of aphorisms he called "The Proverbs of Hell" Blake proclaims, "opposition is true friendship" and satirizes contending spiritual philosophies of the afterlife. Preoccupied in many of his drawings and paintings with death and deathbed scene's Blake had his face cast in a plaster mask five years before his death in 1827.