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Through photography, film and installation, the Canadian artist Stan Douglas has, since the late-1980s, examined complex intersections of narrative, fact and fiction whilescrutinizing the constructs of the media
he employs and their influence on our understanding of reality. Douglas’s work is often in the first instance an examination of place – Potsdam, Cuba and Detroit have provided the impetus for, respectively, Der Sandmann (1995),
Inconsolable Memories (2005) and Le Détroit (1999) – but entangled with the detail of specific geographical and political circumstance is a diverse range of source material that has included the writings of Franz Kafka,
and Orson Welles. While we may recognize the literary, filmic or musical references, along with the stories, places or even
characters appropriated in these complex works, expectations are often frustrated. Instead of narrative fulfillment, Douglas offers us complexity, perplexity and doubt. The artist has remarked that ‘life is all middle’ and in