The Gallery as Memory Palace: M. C. Escher, Gainsborough, Tommy Simmons and Ignatius Sancho

The National Gallery of Canada gradually became morphed into my memory palace, a mnemonic device where social histories began to reveal themselves as one perspective merged into another. Renaissance perspective was too linear, too Hegelian for the way in which I wanted to revisit communal memories. I began to see the gallery spaces through an Escherian perspective where each art work opened into a panorama, a vista of social histories.

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