If this show contained nothing more than photographs with strong single figurative references it would be an excellent show.  But in the more environmental work Levin freezes motion into patterns that are transposed into their own sense of visual rhythm. This is especially clear when he makes water itself his subject matter.  It�s clear what the element is but Levin wants you to consider much more: for example, when a swirling of water above and corresponding patterns of light and shadow undulating below meet up at an undetermined �horizon line� near the middle.  This is as articulate, elegant and beautiful an abstract visual statement as can be made.

Wayne Levin, Rosenberg + Kaufman Fine Arts

One initial question that comes to mind when encountering this exhibition is whether it represents sculpture or an installation piece.  The answer has to be both because each piece freely stands on its own merits as sculpture.  But given the strong architectural references of the 

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Wayne Levin, Rosenberg + Kaufman Fine Arts

materials, large chunks of cornices, bricks and window shutters, they also completely engage the gallery space; itself an old building in which these materials appear to be right at home. Gozu does a good job of having it both ways.  The two larger pieces are juxtaposed at just a correct distance to establish independence with also relating to one another, the space and the viewer.

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