Rosie Leventon makes sculptural installations, for indoors and environmental art in the landscape. She is always experimenting with new materials and using them in innovative ways, such as Celotex Insulation , central heating pipes, recycled mobile phones and paperbacks, as well as more durable stone, water earth and wood. Some pieces are designed to promote a meditation on vulnerability and on the illusion of solidity and permanence in life – one of the continuing themes in her work.
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 wry 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.
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. The 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, Italy , Czech Republic, Switzerland, USA, Spain, Germany, France, Japan and Denmark.
Her work is currently in the Queen Elizabeth Diamond Jubilee Woods, Normanton le Heath, Leics LE 672 ( Woodland Trust), was recently featured in the musical film Annie, Columbia Pictures Jan / Feb 2015 and the National Maritime Museum, Greenwich, in the Queens House. ( Occasional closures – to check it’s open visit: www.rmg.co.uk/visit/latest-info ); Clifton Country Park near Manchester; Kings Wood, Challock, Kent UK.
For up to date commissions and shows shows, see Current Projects. Also in the following books:
Inside Artists Issue 6, Autumn 2016.
THE STATE OF ART Installation & Site-Specific # 2, Bare Hill Publishing, Sept 2015 (ISBN 978-1-909825-15-4).
Thinking is making, Presence and Absence in Contemporary Sculpture edited by Michael Taylor, published by Black Dog, April 2013 ( ISBN13: 9781908966049 ).
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).
Kingswood: A Context edited by Sandra Drew and Liz Kent, published by Stour Valley Arts (ISBN 09535 3409 x).
Meditative Spaces by Michael Freeman, Universe Publishing, Rizzoli, NY (ISBN 0-7893-1065-1).
Installation Art by Nicolas de Oliveira, Nicola Oxley, Michael Petry, published by Thames and Hudson (ISBN 0-500-23672-0).
The Dictionary of Artists in Britain since 1945 by David Buckman published by Art Dictionaries.
Rosie invites new challenges and contexts.