Rosie makes sculptural installations, for both indoors and outdoors, using a broad variety of materials from human hair to 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.
All of Leventon’s 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.
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.
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.
Rosie’s drawing also capture a sense of unease. This drawn newspaperwith handprinted carrier bags, appears to both honour and provoke thought about the arabic culture in the UK.