Cameron Rowland was born in Philadelphia in 1988. As a politically committed artist, Cameron Rowland produces art in which conceptual considerations override the aesthetics of the objects, while nonetheless considering their presentation in space. His works are permeated with economic and social reflections, tackling political issues such as privatisation and the control of resources – including water, electricity or metals – as well as the racism linked to the pro-slavery past. He explores the systemic origins and resurgences of a tragic history, which has been rendered invisible by everyday life, and in his own way interprets an art of reparation. His sculptures take the form of ready-mades that contain within them stories and histories that are made clear by their titles or by the accompanying texts. These objects contain within themselves economic realities, the inequalities that coincide with racial discrimination. Rowland’s work is an extension of the work of Betye Saar, David Hammons or Kara Walker, in an art where language and form are closely connected. Rowland bought the tables shown here from the NYC Office of Payroll, the body in charge of salary management, during a sale of surplus furniture.
His work was included in the exhibitions 'Untitled, 2020' (2020) and 'Slip of the Tongue' (2015-16) at Punta della Dogana.