ROSIE LEVENTON
Rosie Leventon makes sculptural installations, for both indoors and outdoors, using a
broad variety of materials from recycled mobile phones and human hair to recycled central
heating pipes. 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 underfoot.  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.

All of Leventon’s work is grounded in sensitive concern for the natural environment, and
how we use it.  She 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 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. 2007

EDUCATION
Post-Graduate, St Martin’s School of Art, London
Fine Art Degree, Croydon College of Art
Chinese Language and Archaeology, London University

EXHIBITIONS INCLUDE:                                  

‘Parallax’, Fieldgate Gallery, Whitechapel, London 2008;  Prospects and Interiors, recent acquisitions
of Sculptor’s drawings, Leeds Art Gallery 2008;  Drawings bought by Henry Moore Institute, Leeds, 2007;  
‘The London Group’. Menier Chocolate Factory, Southwark, London, 2007; ‘The Front Room’. Salt Gallery,
St.Ives, Cornwall, 2007.  eyestorm, Bankside, London 2007;  ‘Landscape & Memory’, Ropewalk
Contemporary Art, Barton on Humber, 2006;  ‘Undercurrent’ Fabrica, Brighton;  Kafeart Gallery, Dordogne,
France;  International Glass Biennale, Ruskin Glass Centre, Stourbridge, 2004;  Convergence
International Arts Festival, USA – 2003;  Gardner Arts Centre, Brighton 2002;  Royal Society of British
Sculptors 2000 & 2001;  Atrium Gallery, Price Waterhouse Coopers, London;   Cheltenham Open Drawing
Exhibition touring to Switzerland 2001;   Dostoyevsky Museum, St. Petersburg 1999;  National Maritime
Museum, Greenwich 1998-99;  Royal College of Art, London; Dean Clough Contemporary Art Galleries,
Halifax;  Lokaal 01, Holland, 1997;  Museum of
Contemporary Art (MACBA) Barcelona, 1996;  Passerelle Centre d’Art, Brittany, 1995; Frankfurt Art Fair,
1992;  Kettles Yard, Cambridge;  Brandts Klaedefabrik, Denmark, 1991; International Biennale of
Innovative Visual Art, Newcastle;  Der Pfalzgalerie, West Germany 1990.  Serpentine Gallery, London,
1987.

RESIDENCIES

2 Sculptures in the Forest, Kingswood, Kent;  Irwell Sculpture Trail, Manchester;  Glasgow Garden
Festival;   “Eaumages Festival of Installation” Villedieu Cultural Centre, Paris;  “On Site” Yorkshire
Sculpture Park, International Sculpture Symposium.

COMPETITIONS/AWARDS

Rouse Kent Award for Public Art;   EWACC Online Art Competition, 1st Prize;   Mark Tanner Award;
London Arts Bursary;   Portland Clifftop Sculpture Park (major award);   The Elephant Trust;   London Arts
Board;   Henry Moore Sculpture Trust;   British Council Travelling Awards;   London Docklands
Development Corporation.

PUBLICATIONS/REVIEWS
Books: Fabrica – the first 10 years.  Essays by Matthew Miller, Liz Whitehead published by Fabrica,
Brighton.  Art for the Nation, National Maritime Museum.  King’s Wood:  A Context by Liz Kent and
Sandra Drew published by Stour Valley Arts.  Meditative Spaces by Michael Freeman.  Installation Art
published by Thames & Hudson.  The Dictionary of Artists in Britain since 1945 by David Buckman
published by Art Dictionaries.

Newspapers and Magazines include:  Sculpture Magazine, USA. The Architectural Digest, Italy.  
Art Monthly.   Artswork.   Time Out.  Mediamatic Vol.4.  Artscribe.   File Magazine.   The Guardian.   The
Sunday Times.  The Financial Times.   West Midlands Arts Review.   20/20 Magazine.  Art Review.  
Performance Magazine.  Ouest France.  Le Telegramme.   “Avui”.   Sillage Magazine.   
Art Forum International.   Evening Standard.  Hot Tickets.   Blueprint Magazine.   Make.   
The Spectator.   The Times.   The Independent.
Also television and radio programmes.

Commissions:
   National Maritime Museum – the Queens House 2000 - 2009.
   Garden sculpture for Mrs Anne Wood CBE, 2001.