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In three minimal white steel sculptures that surround the basketball cubes, Roland recalls the modular architectural components of his two-man cell, as well as the experience of spending day after day in it.
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The internal cubes suggest containment and exposure. Roland uses the same architectural design of the prison to orient the cubes, with the only entrance positioned at the corner, allowing the correctional officers to surveil the entire space at all times and to limit access when necessary. Titled Home and Away, the work recalls a basketball tournament Roland helped organize within his housing unit in conjunction with “March Madness.” Two internal cubes measuring four feet by four feet are visible inside the larger cubes, along with a basketball rim, ball, and three clear tote bags filled with commissary goods, which were collectively purchased as prizes for the winners. In the main gallery space, two acrylic cubes measuring eight feet by eight feet occupy the center of the room. The viewer moves from the original text to the altered text and feels the physical distance between shifting perspectives. The two versions of text are divided by a panel etched with the familiar pattern of the interior of a security envelope, making it impossible to read both texts at the same time. On the rear side of the sculpture, Roland has altered the text to say that the institution should take responsibility for the forms and conditions of the contents, highlighting the inherent paradox of the criminal justice system. Department of Corrections stamped onto the mail he sent, stating that the institution takes no responsibility for the contents of the letter. Shaped like large envelopes, Roland has etched the language that the D.C. Incorporating surreal shifts of scale and poetic formal gestures, Roland creates images, objects and environments that illuminate the invisible costs, damages, and burdens of incarceration.Īt the entrance of the gallery, four sculptures made of clear acrylic hang from the ceiling. In these works, he uses only materials that were available to him while in prison.
Hindsight buas archive#
Roland has maintained an extensive archive of letters, books, commissary lists, and other materials which serve as inspiration for four new bodies of work shown here for the first time. In his work, Roland examines how his own experience with the American criminal justice system has shaped his worldview and how it has changed since his exoneration.
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The title Hindsight Bias references how we process memories using acquired wisdom and knowledge. He spent ten months in prison before being exonerated and returning to an artistic practice that developed into a vehicle for expression, reflection, and emotional release. For more than three years, Roland's right to self-determination was lost to wrongful incarceration. Sherrill Roland’s interdisciplinary practice deals with concepts of innocence, identity, and community, often filtered through minimalist gestures, specific materials, and various layers of abstraction. Tanya Bonakdar Gallery is pleased to present Hindsight Bias, Sherrill Roland’s first exhibition with the gallery, on view in New York from January 8 through February 5, 2022.