Rosie Leventon makes sculptural installations, for both indoors and in the landscape, using a broad variety of materials from human hair to water earth and recycled central heating pipes. She also draws and paints, using ink, pencil, acrylic, chalk, bitumen and other media to create proposals for sculpture and installations. Although often conceived as outline ideas for larger 3d projects these drawings and maquettes represent a significant body of work in their own right.
Some of Leventon's installations comprise radical interventions into the interior architecture of a building. She has constructed false floors that float on water and which shift under foot. Her outdoor installations sometimes highly ambitious in scale often have a functional, regional element, providing water for animals, for example, or promoting biodiversity and regeneration. Her work is grounded in a sensitive concern for the natural environment and how we use it. Leventon sees her work as interweaving a kind of personal archaeology with the archaeology of contemporary society and the physical archaeology of places.
Much of Leventon's sculpture incorporates elements of surprise or wryly mordant humour, but there is also a muscular quality to some of her installations, which carries its own freight of symbolism. 'Forensic Evidence', a piece first shown at London's Serpentine Gallery, comprises a series of recycled stacked scaffolding boards, from which an elegant, wound-like indentation has been hacked, while 'False Floor' is constructed from old scaffolding boards punctured with ragged holes from which water spurts, splashing the surrounding boards. Such pieces possess vaguely menacing connotations, as if one has inadvertently strayed into a place where some catastrophic event has taken place.
Leventon's drawings combine expressive energy with a sculptor's instinct for ground and depth. Surfaces are tactile, often evoking organic sculptural materials, or referencing the elemental aspects of landscape. (Tom Flynn)
She works internationally including Poland, Russia, Czech Republic, Switzerland, USA, Spain, Germany, France, Japan and Denmark.
Current projects include a series of interrelated outdoor environmental pieces for the Woodland Trust, and a recent exhibition at Standpoint Gallery in London, 'A decade of the Mark Tanner Sculpture Award'. ( www.standpointlondon.co.uk) till June 29. 2013, with a publication - see below.
Her work was recently seen in Tanner Award for Sculpture, at Standpoint Gallery, Inside at Blank Media Collective in Manchester; and is currently in the National Maritime Museum, Greenwich, (in the Queens House) to check it's open visit: www.rmg.co.uk/visit/latest-info; Clifton Country Park near Manchester; Kings Wood, Challock, Kent UK, and the following books:
'THINKING IS MAKING, Presence and Absence in Contemporary Sculpture' Publ. by Black Dog 7.4.2013 Ed. Michael Taylor. ( ISBN13:978 1 90896604 9)
'SCULPTURE PARKS AND TRAILS OF ENGLAND' by Alison Stace. (ISBN 13:978-07136-7952-6)
'FABRICA the first 10 years' Introduction by Caroline Collier. Essays by Matthew Miller, Liz Whitehead, Nannette Aldred and Phyllida Shaw. (ISBN 0-9543380-2-2)
'MEDITATIVE SPACES' by Michael Freeman. Universe Publishing. Rizzoli International. (ISBN 0-7893-1065-1)
'KING'S WOOD: A CONTEXT' eds. Sandra Drew and Liz Kent. Stour Valley Arts. (ISBN 09535 3409 x)
'INSTALLATION ART' by Nicolas de Oliveira, Nicola Oxley, Michael Petry. Thames & Hudson. (ISBN 0-500-23672-0)
Rosie invites new challenges and contexts.
Channel 4, The Big Art Project.
Inside - Blank Media Collective from Barbara Nickl on Vimeo.