My Memory Echoes in You

The garden may be gone now. I don’t know. I don’t expect to visit again.

The Roses

The roses of the garden have heavy, floral, sweet, delicious scents. I want to eat one. I eat one. The taste is sweet, heavy. It fills my mouth and nose, and it lingers.

Rosehips used for jam, tea, and preserves; rose water flavour in Turkish delight. The flavours of my childhood.

My grandmother teaches me to press the flowers: to tilt the heads, flatten the petals and leaves, pull apart the large petals and press them separately. To compose them.

I remember the garden clearly, fondly. It is huge; it towers over me. There are many flowers but the roses stand out the most. Pink Ladies… pink and red. I put my head right into the rose bush and inhale deeply.

In the photos, the towering, enveloping rose bush is smaller than I remember. But I too am smaller and as I grew so did they. I don’t know whether the garden still stands. The house does, but the roses? Without anyone to tend them?

My children will never know that rose garden; the garden of my summers, an ocean and a lifetime away. But they know the garden at the end of our street. They put their heads right into the rose bush and inhale deeply.

They will remember the moments, through their own photographs and memories, and my roses will echo in them too.

My Memory Echoes in You invites visitors into The Garden , a rose garden that exists only in the artist’s memory: a place of heady scents, tended by a grandmother and enjoyed over decades by generations of a single family and their friends.

Memory is fragmented and involuntary, full of gaps. It surfaces only what feels significant to us, or what we perceive to be true, sometimes surging into the present, sometimes coalescing slowly. Either way, recognition is physical and sensory, a search for truth in what was seen and felt, even as memory itself can never be fully trusted.

Drawing on the family archive, black-and-white photographs, slide positives, and faded colour prints are juxtaposed with present-day photographs of a different rose garden. The installation brings the garden into the present through a combination of digital and analogue print media.

The work considers how memories are inherited, transformed, and carried forward. Through the merging of technologies, images, and generations, past and present meet. Visitors are invited to enter The Garden and bring their own memories of places, people, and experiences into relation with the artist’s.

Offered as a lived experience through bodies, gestures, and shared space, the work seeks a moment of recognition: that the memory held in the artwork may find an echo in the viewer’s own.

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Dana Tosic is a Toronto-based artist working across printmaking, installation, and digital media. She holds a BFA from Queen’s University and an MFA from the University of Calgary, where she was selected for the Tim Mara Graduate Student Exchange at the Royal College of Art in London, U.K.

Her practice explores embodied perception, memory, and the intersections between digital technologies and traditional printmaking processes. Her research has been presented at the Printopolis International Symposium on Printmaking in Toronto (2010).

Tosic has exhibited and participated in residencies across Canada and internationally, and has taught at the University of Calgary and the University of British Columbia Okanagan. She has been a member of Open Studio since 2003 and served on its Board from 2011–2016. Alongside her artistic practice, she is Principal at Design Workshop Architects and Future Workshop, where she leads public art and interdisciplinary projects, including commissions and presentations at Nuit Blanche Toronto, the Interior Design Show Toronto, and DesignTO.