Los Angeles, CA - Elliott Levenglick LLC is pleased to present the first solo show in Los Angeles by artist Brittany Mojo. This exhibition also marks her first solo show since completing her MFA thesis at UCLA this past spring.

Mojo looks to mundane objects in her immediate surroundings that become the focus of her sculptures. Specializing in ceramics, she frequently incorporates other elements traditionally associated with crafts, including wood and paper mâché. In recreating items like a bicycle, a plant, bottles and other vessels, the artist alludes to and thusly acknowledges the decorative connotations entwined with her preferred materials. Yet, the literal and conceptual narratives ingrained within the pieces simultaneously undermine this status: For instance, the tangible impressions of fingerprints in some of her clay works suggest the story of a process and her own physical labor, while her decision to replicate these objects implies another layer of meaning, indicative of individual memories and emotional attachments around chosen subject matter.  

Central to the show is Self-Portrait, Leaving (2016), comprising a series of porcelain bottles and other vessels situated on a cart, made of wood, paper and plaster. Mojo imagined the piece as an homage to and commemoration of her time as an art student at UCLA. The cart component resembles a functional one that she used regularly throughout graduate school, and that she describes as being essential to the grunt work of daily life in the studio.  Meanwhile, the series of vessels refers to the foundations of the craft, and is a form that has always intrigued Mojo for its resemblance of the female figure, as well as its contradictory, dual appeal as utilitarian—like with conventional mugs or bowls—and ornamental or as a signs status—like a vase deemed “fine art.”

About Brittany Mojo:

Brittany Mojo (born 1989, New Jersey) is an artist and sculptor currently based in Los Angeles. After studying ceramics at California State University in Long Beach, Mojo enrolled in the MFA program at UCLA, where she concentrated on ceramics. Since 2009, she has been featured in over a dozen group shows and several solo shows in California as well as Italy. She appeared in New American Paintings in 2014 featured in its annual “Pacific Coast” competition.

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Los Angeles, CA - For his inaugural solo show in Los Angeles, Evan Robarts presents new sculptures and an installation at Elliott Levenglick LLC in Downtown Los Angeles. The show is  titled “Reboun,” a word Robarts chose for its allusion to sports and the literal motionof returning, as well as a resilience in the grander scheme of life. It draws on the material substance of inner urban areas as a metaphor for the temporal and physical systems a city adheres to.

The exhibition includes eleven fence pieces, the latest editions to an ongoing series Robarts began in 2013. With various colorful balls suspended within the chain-link, these can be alternately modified to hang like a canvas, stand staggered on the floor, or lean on the wall for support. The sections of fence are, of course, removed from a context where they could be functional. The framework of the chain-link evokes for Robarts a gridded network of metropolitan streets, with incontrovertible separations between communities of people that he sees as represented by the balls—each isolated, anonymous and caught between barriers.  Robarts will also debut a large-scale freestanding assemblage titled Half-time, comprised of a decrepit chain basketball hoop and a rusty wheelbarrow. Here, the elements of work and play fuse into one, conjuring the activities that might fill up a day for a given individual in a city.

Finally, for the first time ever, Robarts will stage Serve (2016) an ephemeral, site- specific mural installation that will remain on view for the duration of the show. The result of experiments that were, until now, relegated to his studio, Serve is created as Robarts repeatedly bounces a charcoal-coated tennis ball off the white walls of the gallery, a gesture that literally reflects a pattern of “rebounds” through the marks it makes.

About Evan Robarts:

Robarts (b. 1982, Florida) graduated from Pratt in 2008 with a BFA in sculpture. He has had solo shows at Galerie Jeanroch Dard in Brussels and The Hole in New York, and has been included in group shows at Balice Hertling and Bryce Wolkowitz in New York as well as at Vigo Gallery in London and BANK in Shanghai. He has also exhibited at the Margulies Collection at the Warehouse in Miami and The Still House Group in Red Hook, Brooklyn. In 2015, he was commissioned to design a site-specific installation for the fall window displays at the Hermès flagship in Paris. He lives in Brooklyn and works in Manhattan, New York

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Elliott Levenglick LLC is pleased to present multimedia artist Annina Roescheisen with a new series of work in her inaugural solo exhibition in New York, marking her entry into the New York art world. Titled What Are You Fishing For?, the exhibition features video art and a series of photographs. It will be on view on 90 Stanton Street, from November 5 until December 1, 2015.

What Are You Fishing For? is strongly influenced by the artists consolidated knowledge of humanities. Set in long steady shots with an added instrumental soundtrack, the film has the impact of a cinematic recording. Through an emotionally charged visual narrative, it powerfully mirrors the artist's inner landscape giving way to melancholy and a tangible coldness, while simultaneously touching on the elementary needs of human nature. It consists of one film and an edition of seven photographs.

What Are You Fishing For? is also on view at the Venice Biennale from May 9 until November 22, 2015 at Palazzo Bembo in the context of the European Pavilion. Inspired by allegorical depictions, in a language thriving with symbolism, Roescheisen creates visual metaphors that allude to the human condition. Her broad use of technical and digital equipment, spanning sculpture, installations, photography and video goes hand in hand with her engagement in the humanitarian field. Her “holistic” approach to art allows for a broad spectrum of activities and has seen the artist become an active participator in the human rights field and a collaborator with fellow artists. Roescheisen’s entry into the New York art scene will be accompanied by her motivation to foster dialogue and, in her own words, to bring “a human side” to art: “Art for me is about human emotions, about depth, growth, transformation and liberation.”

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Elliott Levenglick LLC is pleased to present Shelter of a Limping Substrate, Rachel Rossin’s solo show, featuring new oil paintings that revive ennui en plein air for our digital era.

Every rupture is also a continuity. For Rossin, the oil painting here is the artifact of a feedback loop between digital and analog processes. Substrate, in the show’s title, refers to the underlying layer in 3D imaging, the most fundamental surface upon which the rest is built. Formal plein air paintings provide the foundation for Rossin, which she then has reimagined in virtual reality CAD software. The gestural distortion of these pastoral scenes is what she captures in the final works, using the traditional medium of oil to grasp the new weariness of the cyberflaneur.

The result is a collection of pieces that stagger toward an immersion of contradictions. There’s an angst and urgency to the smudges Rossin has first made on screen and then replicated with her brush, but also a placid timelessness to the floral arabesques that reach across the canvas. Blues, pinks, greens, and violets suggest something idyllic, yet there’s a lurking sense of pain too in the virtual manipulations flexures and folds which Rossin has rendered with painterly skill. The show brings together the artist’s dual background in programming and painting seamlessly incorporating these tools into her practice. The New York Times called her recent immersive installation experienced via Oculus Rift headset (a part of her solo show “n=7/The Wake of the Heat of Collapse” at Brooklyn’s Signal Gallery) “a Dantesque virtual reality,” and this month she was named a Virtual Reality Fellow in residence at NEW INC., the New Museum’s art tech incubator.

While these new works mark the first time Rossin has so intimately brought together her command of digital and analog mediums, her paintings in the past have been shown throughout the U.S. including as a part of her first solo show “Telltale” at the Bowery Hotel Basement Annex in 2012. Recent solo shows also include Signal Gallery, SPRING/BREAK Art Show, New York; SchoolHouse Projects with IDEAS CITY, New York; and The Cummer Museum, Jacksonville, Florida. Rossin works and lives in New York.

Text by Whitney Mallett

Elliott Levenglick LLC is proud to present a solo exhibition, "Mastering Willpower" by prolific painter, Lance De Los Reyes. Opening on Thursday February 5, 2015,  the exhibition will feature two large oil paintings and one sculpture.

De Los Reyes will debut two new oil paintings on drop cloths and canvasses mounted to stretched raw canvas entitled "Secret Friends" and Collecting Codes.  De los Reyes embodies symbolic imagery and patterns that underscores his inspiration from mythology.  

Lance De Los Reyes was born in Texas and studied painting, performance, sculpture and video at the San Francisco Art Institute. After moving to New York City he assisted artist Donald Baechler and has exhibited with The Hole, The Journal Gallery and Peter Makebish.

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