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NADA New York 2026:

We’re honored to share that ARTnews has selected Central Server Works’ presentation of Elena Roznovan as one of “The Best Booths at NADA New York 2026.”

The feature by Harrison Jacobs highlights 𝘉𝘰𝘴𝘴𝘮𝘰𝘮, our solo presentation with Los Angeles–based Moldovan artist Elena Roznovan, as part of a broader consideration of the fair’s strongest first-time exhibitors.

“Roznovan reminds us that motherhood is a messy, physical form of labor that does not easily fit into society’s structures of belonging.”

The presentation brings together intimate watercolor self-portraits produced during the artist Postpartum period with concrete panel works embedded with breast milk, fingernail clippings, umbilical cord remnants, medication residue, memory cards containing newborn photographs, and other bodily traces and maternal ephemera. Across the booth, these materials become both archive and infrastructure: records of care, exhaustion, intimacy, containment, and survival.

This recognition is especially meaningful as this marks Central Server Works’ first presentation at NADA New York.

Thank you to Harrison Jacobs and ARTnews for the thoughtful inclusion, and to everyone spending time with the work during the fair.

@eroznovan
@newartdealers
@harrisonxjacobs

NADA New York 2026:

We’re honored to share that ARTnews has selected Central Server Works’ presentation of Elena Roznovan as one of “The Best Booths at NADA New York 2026.”

The feature by Harrison Jacobs highlights 𝘉𝘰𝘴𝘴𝘮𝘰𝘮, our solo presentation with Los Angeles–based Moldovan artist Elena Roznovan, as part of a broader consideration of the fair’s strongest first-time exhibitors.

“Roznovan reminds us that motherhood is a messy, physical form of labor that does not easily fit into society’s structures of belonging.”

The presentation brings together intimate watercolor self-portraits produced during the artist Postpartum period with concrete panel works embedded with breast milk, fingernail clippings, umbilical cord remnants, medication residue, memory cards containing newborn photographs, and other bodily traces and maternal ephemera. Across the booth, these materials become both archive and infrastructure: records of care, exhaustion, intimacy, containment, and survival.

This recognition is especially meaningful as this marks Central Server Works’ first presentation at NADA New York.

Thank you to Harrison Jacobs and ARTnews for the thoughtful inclusion, and to everyone spending time with the work during the fair.

@eroznovan
@newartdealers
@harrisonxjacobs

NADA New York 2026:

We’re honored to share that ARTnews has selected Central Server Works’ presentation of Elena Roznovan as one of “The Best Booths at NADA New York 2026.”

The feature by Harrison Jacobs highlights 𝘉𝘰𝘴𝘴𝘮𝘰𝘮, our solo presentation with Los Angeles–based Moldovan artist Elena Roznovan, as part of a broader consideration of the fair’s strongest first-time exhibitors.

“Roznovan reminds us that motherhood is a messy, physical form of labor that does not easily fit into society’s structures of belonging.”

The presentation brings together intimate watercolor self-portraits produced during the artist Postpartum period with concrete panel works embedded with breast milk, fingernail clippings, umbilical cord remnants, medication residue, memory cards containing newborn photographs, and other bodily traces and maternal ephemera. Across the booth, these materials become both archive and infrastructure: records of care, exhaustion, intimacy, containment, and survival.

This recognition is especially meaningful as this marks Central Server Works’ first presentation at NADA New York.

Thank you to Harrison Jacobs and ARTnews for the thoughtful inclusion, and to everyone spending time with the work during the fair.

@eroznovan
@newartdealers
@harrisonxjacobs

NADA New York 2026:

We’re honored to share that ARTnews has selected Central Server Works’ presentation of Elena Roznovan as one of “The Best Booths at NADA New York 2026.”

The feature by Harrison Jacobs highlights 𝘉𝘰𝘴𝘴𝘮𝘰𝘮, our solo presentation with Los Angeles–based Moldovan artist Elena Roznovan, as part of a broader consideration of the fair’s strongest first-time exhibitors.

“Roznovan reminds us that motherhood is a messy, physical form of labor that does not easily fit into society’s structures of belonging.”

The presentation brings together intimate watercolor self-portraits produced during the artist Postpartum period with concrete panel works embedded with breast milk, fingernail clippings, umbilical cord remnants, medication residue, memory cards containing newborn photographs, and other bodily traces and maternal ephemera. Across the booth, these materials become both archive and infrastructure: records of care, exhaustion, intimacy, containment, and survival.

This recognition is especially meaningful as this marks Central Server Works’ first presentation at NADA New York.

Thank you to Harrison Jacobs and ARTnews for the thoughtful inclusion, and to everyone spending time with the work during the fair.

@eroznovan
@newartdealers
@harrisonxjacobs

NADA New York 2026:

We’re honored to share that ARTnews has selected Central Server Works’ presentation of Elena Roznovan as one of “The Best Booths at NADA New York 2026.”

The feature by Harrison Jacobs highlights 𝘉𝘰𝘴𝘴𝘮𝘰𝘮, our solo presentation with Los Angeles–based Moldovan artist Elena Roznovan, as part of a broader consideration of the fair’s strongest first-time exhibitors.

“Roznovan reminds us that motherhood is a messy, physical form of labor that does not easily fit into society’s structures of belonging.”

The presentation brings together intimate watercolor self-portraits produced during the artist Postpartum period with concrete panel works embedded with breast milk, fingernail clippings, umbilical cord remnants, medication residue, memory cards containing newborn photographs, and other bodily traces and maternal ephemera. Across the booth, these materials become both archive and infrastructure: records of care, exhaustion, intimacy, containment, and survival.

This recognition is especially meaningful as this marks Central Server Works’ first presentation at NADA New York.

Thank you to Harrison Jacobs and ARTnews for the thoughtful inclusion, and to everyone spending time with the work during the fair.

@eroznovan
@newartdealers
@harrisonxjacobs

NADA New York 2026

We’re honored to share that Hyperallergic featured Central Server Works and Elena Roznovan’s solo presentation 𝘉𝘰𝘴𝘴𝘮𝘰𝘮 at NADA New York 2026 in “Between Tropes and Treats at NADA New York” by Rhea Nayyar.

In the article, Nayyar reflects on the visual repetitions and familiar tendencies that shaped much of the fair, while identifying Roznovan’s presentation as a work that cut through the noise with a deeply material and psychologically charged approach to motherhood, embodiment, and labor.

“…dimensional watercolor self-portraits embedded alongside fingernail clippings, breast milk, strands of hair, pre- and post-natal vitamins, a bit of her child’s preserved umbilical cord, and other maternal ephemera in concrete panels adorned with bondage tape.”

Born in Chișinău, Moldova and based in California, Elena Roznovan’s practice navigates the physical and emotional architectures of motherhood through sculpture, painting, video, and installation.

𝘉𝘰𝘴𝘴𝘮𝘰𝘮 brings together watercolor and concrete works incorporating hair, breast milk, fingernail clippings, umbilical cord remnants, medication residue, memory devices, and bondage materials—objects and substances that oscillate between care, control, intimacy, exhaustion, and survival.

Presented by Central Server Works at NADA New York 2026.

Thank you to Rhea Nayyar and Hyperallergic for the thoughtful inclusion.

@eroznovan
@newartdealers
@hyperallergic
@rhea.nayyar

NADA New York 2026

We’re honored to share that Hyperallergic featured Central Server Works and Elena Roznovan’s solo presentation 𝘉𝘰𝘴𝘴𝘮𝘰𝘮 at NADA New York 2026 in “Between Tropes and Treats at NADA New York” by Rhea Nayyar.

In the article, Nayyar reflects on the visual repetitions and familiar tendencies that shaped much of the fair, while identifying Roznovan’s presentation as a work that cut through the noise with a deeply material and psychologically charged approach to motherhood, embodiment, and labor.

“…dimensional watercolor self-portraits embedded alongside fingernail clippings, breast milk, strands of hair, pre- and post-natal vitamins, a bit of her child’s preserved umbilical cord, and other maternal ephemera in concrete panels adorned with bondage tape.”

Born in Chișinău, Moldova and based in California, Elena Roznovan’s practice navigates the physical and emotional architectures of motherhood through sculpture, painting, video, and installation.

𝘉𝘰𝘴𝘴𝘮𝘰𝘮 brings together watercolor and concrete works incorporating hair, breast milk, fingernail clippings, umbilical cord remnants, medication residue, memory devices, and bondage materials—objects and substances that oscillate between care, control, intimacy, exhaustion, and survival.

Presented by Central Server Works at NADA New York 2026.

Thank you to Rhea Nayyar and Hyperallergic for the thoughtful inclusion.

@eroznovan
@newartdealers
@hyperallergic
@rhea.nayyar

NADA New York 2026

We’re honored to share that Hyperallergic featured Central Server Works and Elena Roznovan’s solo presentation 𝘉𝘰𝘴𝘴𝘮𝘰𝘮 at NADA New York 2026 in “Between Tropes and Treats at NADA New York” by Rhea Nayyar.

In the article, Nayyar reflects on the visual repetitions and familiar tendencies that shaped much of the fair, while identifying Roznovan’s presentation as a work that cut through the noise with a deeply material and psychologically charged approach to motherhood, embodiment, and labor.

“…dimensional watercolor self-portraits embedded alongside fingernail clippings, breast milk, strands of hair, pre- and post-natal vitamins, a bit of her child’s preserved umbilical cord, and other maternal ephemera in concrete panels adorned with bondage tape.”

Born in Chișinău, Moldova and based in California, Elena Roznovan’s practice navigates the physical and emotional architectures of motherhood through sculpture, painting, video, and installation.

𝘉𝘰𝘴𝘴𝘮𝘰𝘮 brings together watercolor and concrete works incorporating hair, breast milk, fingernail clippings, umbilical cord remnants, medication residue, memory devices, and bondage materials—objects and substances that oscillate between care, control, intimacy, exhaustion, and survival.

Presented by Central Server Works at NADA New York 2026.

Thank you to Rhea Nayyar and Hyperallergic for the thoughtful inclusion.

@eroznovan
@newartdealers
@hyperallergic
@rhea.nayyar

NADA New York 2026

We’re honored to share that Hyperallergic featured Central Server Works and Elena Roznovan’s solo presentation 𝘉𝘰𝘴𝘴𝘮𝘰𝘮 at NADA New York 2026 in “Between Tropes and Treats at NADA New York” by Rhea Nayyar.

In the article, Nayyar reflects on the visual repetitions and familiar tendencies that shaped much of the fair, while identifying Roznovan’s presentation as a work that cut through the noise with a deeply material and psychologically charged approach to motherhood, embodiment, and labor.

“…dimensional watercolor self-portraits embedded alongside fingernail clippings, breast milk, strands of hair, pre- and post-natal vitamins, a bit of her child’s preserved umbilical cord, and other maternal ephemera in concrete panels adorned with bondage tape.”

Born in Chișinău, Moldova and based in California, Elena Roznovan’s practice navigates the physical and emotional architectures of motherhood through sculpture, painting, video, and installation.

𝘉𝘰𝘴𝘴𝘮𝘰𝘮 brings together watercolor and concrete works incorporating hair, breast milk, fingernail clippings, umbilical cord remnants, medication residue, memory devices, and bondage materials—objects and substances that oscillate between care, control, intimacy, exhaustion, and survival.

Presented by Central Server Works at NADA New York 2026.

Thank you to Rhea Nayyar and Hyperallergic for the thoughtful inclusion.

@eroznovan
@newartdealers
@hyperallergic
@rhea.nayyar

We’re honored to share that Observer has included Elena Roznovan and Central Server Works in its coverage of NADA New York 2026.

In the feature, art writer, curator, and advisor Elisa Carollo situates Roznovan’s 𝘉𝘰𝘴𝘴𝘮𝘰𝘮 within broader conversations around embodiment, technological dependence, intimacy, and social regulation, describing the works as “an intimate exercise of embodiment and disembodiment” operating through “fragile, visceral materials.”

Presented by Central Server Works, 𝘉𝘰𝘴𝘴𝘮𝘰𝘮 brings together hybrid watercolor and cast concrete works embedded with hair, breast milk, video components, medication residue, fingernail clippings, memory devices, and umbilical cord remnants. Emerging from Roznovan’s own postpartum experience, the series examines motherhood not as image alone, but as a materially present and socially conditioned state shaped by labor, dependence, biology, and systems of control.

The article also traces Roznovan’s transition from earlier investigations into responsive and technological systems toward a more intimate and embodied register, where the body itself becomes infrastructure, archive, interface, and site of negotiation.

We’re deeply grateful to Elisa Carollo and Observer for the thoughtful engagement and generous inclusion.

NADA New York 2026
Central Server Works — Booth A9
Starrett-Lehigh Building
May 13–17, 2026

@eroznovan
@newartdealers
@observer

We’re honored to share that Observer has included Elena Roznovan and Central Server Works in its coverage of NADA New York 2026.

In the feature, art writer, curator, and advisor Elisa Carollo situates Roznovan’s 𝘉𝘰𝘴𝘴𝘮𝘰𝘮 within broader conversations around embodiment, technological dependence, intimacy, and social regulation, describing the works as “an intimate exercise of embodiment and disembodiment” operating through “fragile, visceral materials.”

Presented by Central Server Works, 𝘉𝘰𝘴𝘴𝘮𝘰𝘮 brings together hybrid watercolor and cast concrete works embedded with hair, breast milk, video components, medication residue, fingernail clippings, memory devices, and umbilical cord remnants. Emerging from Roznovan’s own postpartum experience, the series examines motherhood not as image alone, but as a materially present and socially conditioned state shaped by labor, dependence, biology, and systems of control.

The article also traces Roznovan’s transition from earlier investigations into responsive and technological systems toward a more intimate and embodied register, where the body itself becomes infrastructure, archive, interface, and site of negotiation.

We’re deeply grateful to Elisa Carollo and Observer for the thoughtful engagement and generous inclusion.

NADA New York 2026
Central Server Works — Booth A9
Starrett-Lehigh Building
May 13–17, 2026

@eroznovan
@newartdealers
@observer

We’re honored to share that Observer has included Elena Roznovan and Central Server Works in its coverage of NADA New York 2026.

In the feature, art writer, curator, and advisor Elisa Carollo situates Roznovan’s 𝘉𝘰𝘴𝘴𝘮𝘰𝘮 within broader conversations around embodiment, technological dependence, intimacy, and social regulation, describing the works as “an intimate exercise of embodiment and disembodiment” operating through “fragile, visceral materials.”

Presented by Central Server Works, 𝘉𝘰𝘴𝘴𝘮𝘰𝘮 brings together hybrid watercolor and cast concrete works embedded with hair, breast milk, video components, medication residue, fingernail clippings, memory devices, and umbilical cord remnants. Emerging from Roznovan’s own postpartum experience, the series examines motherhood not as image alone, but as a materially present and socially conditioned state shaped by labor, dependence, biology, and systems of control.

The article also traces Roznovan’s transition from earlier investigations into responsive and technological systems toward a more intimate and embodied register, where the body itself becomes infrastructure, archive, interface, and site of negotiation.

We’re deeply grateful to Elisa Carollo and Observer for the thoughtful engagement and generous inclusion.

NADA New York 2026
Central Server Works — Booth A9
Starrett-Lehigh Building
May 13–17, 2026

@eroznovan
@newartdealers
@observer

This past weekend @archiv3xyz served as press for @newartdealers Art Fair, One of the stand out exhibitions were LA Based gallery @centralserverworks presented Bossmom by @eroznovan, one of the more emotionally complex presentations we experienced during the fair.

What makes the work resonate is how it refuses to romanticize motherhood. Instead, Roznovan approaches the postpartum experience as something physical, psychological, and deeply tied to systems of labor, expectation, and control. Through concrete sculptures, embedded materials, watercolor, and video, the work feels heavy both literally and emotionally, carrying the tension between care and exhaustion, intimacy and pressure.

There’s also something powerful about the way the body is treated throughout the presentation. Not as a symbol, but as a site where societal expectations, medical systems, and personal identity all collide at once. The work doesn’t try to offer easy answers or sentimental narratives. It sits in contradiction, and that’s what makes it feel honest.

This was definitely one of the standout booths for us at NADA this year.

This past weekend @archiv3xyz served as press for @newartdealers Art Fair, One of the stand out exhibitions were LA Based gallery @centralserverworks presented Bossmom by @eroznovan, one of the more emotionally complex presentations we experienced during the fair.

What makes the work resonate is how it refuses to romanticize motherhood. Instead, Roznovan approaches the postpartum experience as something physical, psychological, and deeply tied to systems of labor, expectation, and control. Through concrete sculptures, embedded materials, watercolor, and video, the work feels heavy both literally and emotionally, carrying the tension between care and exhaustion, intimacy and pressure.

There’s also something powerful about the way the body is treated throughout the presentation. Not as a symbol, but as a site where societal expectations, medical systems, and personal identity all collide at once. The work doesn’t try to offer easy answers or sentimental narratives. It sits in contradiction, and that’s what makes it feel honest.

This was definitely one of the standout booths for us at NADA this year.

This past weekend @archiv3xyz served as press for @newartdealers Art Fair, One of the stand out exhibitions were LA Based gallery @centralserverworks presented Bossmom by @eroznovan, one of the more emotionally complex presentations we experienced during the fair.

What makes the work resonate is how it refuses to romanticize motherhood. Instead, Roznovan approaches the postpartum experience as something physical, psychological, and deeply tied to systems of labor, expectation, and control. Through concrete sculptures, embedded materials, watercolor, and video, the work feels heavy both literally and emotionally, carrying the tension between care and exhaustion, intimacy and pressure.

There’s also something powerful about the way the body is treated throughout the presentation. Not as a symbol, but as a site where societal expectations, medical systems, and personal identity all collide at once. The work doesn’t try to offer easy answers or sentimental narratives. It sits in contradiction, and that’s what makes it feel honest.

This was definitely one of the standout booths for us at NADA this year.

Last few hours of NADA New York 2026.

Come view our booth with @eroznovan.

Booth A9

@newartdealers

Last few hours of NADA New York 2026.

Come view our booth with @eroznovan.

Booth A9

@newartdealers

Last few hours of NADA New York 2026.

Come view our booth with @eroznovan.

Booth A9

@newartdealers

Last few hours of NADA New York 2026.

Come view our booth with @eroznovan.

Booth A9

@newartdealers

NADA New York continues today May 16, 2026 from 11am–7pm.

The Starrett-Lehigh Building
601 W 26th Street, 3rd Floor
New York, NY 10001

Elena Roznovan
Booth A9

@centralserverworks
@eroznovan
@newartdealers

NADA New York continues today May 16, 2026 from 11am–7pm.

The Starrett-Lehigh Building
601 W 26th Street, 3rd Floor
New York, NY 10001

Elena Roznovan
Booth A9

@centralserverworks
@eroznovan
@newartdealers

I hope your art dealer is stretching and drinking water.

🗽🗽🗽 🗽🗽

NADA New York 2026

Elena Roznovan (@eroznovan)

Thank you @newartdealers

Visit us at booth A9.

🗽
Central Server Works
NADA New York 2026
May 13–17, 2026

Booth A9

The Starrett-Lehigh Building
601 W 26th Street, 3rd Floor
New York, NY

CSW is pleased to present 𝘉𝘰𝘴𝘴𝘮𝘰𝘮, a solo presentation by Elena Roznovan (b. 1989, Chișinău, Moldova).

Bringing together cast concrete sculpture, composite paper-based watercolor works, and video, the presentation examines the postpartum body as a site structured simultaneously by intimacy, labor, care, and systems of control.

Central to the booth is a series of intimate paper-composite watercolor works in which image and material become inseparable. Built from layered paper pulp, watercolor, graphite, concrete, bondage tape, medications, breastmilk, hair, fingernail clippings, memory devices, and bodily remnants, the works function as material records of lived experience rather than symbolic representations. Small scenes drawn from the artist’s postpartum life emerge and recede within dense surfaces that hold tension between fragility and containment, tenderness and coercion. 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦 (2024) incorporates an embedded umbilical cord stump alongside a graphite inscription in the artist’s hand.

The recurring use of bondage materials and BDSM visual language introduces questions of restraint, submission, maintenance, and embodied regulation, linking domestic care to broader systems of pressure and control.

At the center of the presentation is 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭 (2026), a cast concrete sculpture scaled to the dimensions of a human torso. An oversized bow, cast from bismuth subsalicylate—the active ingredient in Pepto-Bismol—translates an internal condition into physical form, transforming a symbol of softness and compliance into an object of density, pressure, and restraint.

Read more on our website. DM or email for additional information and preview materials.

Images:

1 -4) Elena Roznovan, 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦, 2024. Paper-composite, watercolor, graphite, umbilical cord stump, concrete, metal frame, bondage tape.

5-7) 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭, 2026 Pepto-Bismol cast ribbon, concrete, metal frame.

8) Elena Roznovan in studio.

@newartdealers @eroznovan

🗽
Central Server Works
NADA New York 2026
May 13–17, 2026

Booth A9

The Starrett-Lehigh Building
601 W 26th Street, 3rd Floor
New York, NY

CSW is pleased to present 𝘉𝘰𝘴𝘴𝘮𝘰𝘮, a solo presentation by Elena Roznovan (b. 1989, Chișinău, Moldova).

Bringing together cast concrete sculpture, composite paper-based watercolor works, and video, the presentation examines the postpartum body as a site structured simultaneously by intimacy, labor, care, and systems of control.

Central to the booth is a series of intimate paper-composite watercolor works in which image and material become inseparable. Built from layered paper pulp, watercolor, graphite, concrete, bondage tape, medications, breastmilk, hair, fingernail clippings, memory devices, and bodily remnants, the works function as material records of lived experience rather than symbolic representations. Small scenes drawn from the artist’s postpartum life emerge and recede within dense surfaces that hold tension between fragility and containment, tenderness and coercion. 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦 (2024) incorporates an embedded umbilical cord stump alongside a graphite inscription in the artist’s hand.

The recurring use of bondage materials and BDSM visual language introduces questions of restraint, submission, maintenance, and embodied regulation, linking domestic care to broader systems of pressure and control.

At the center of the presentation is 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭 (2026), a cast concrete sculpture scaled to the dimensions of a human torso. An oversized bow, cast from bismuth subsalicylate—the active ingredient in Pepto-Bismol—translates an internal condition into physical form, transforming a symbol of softness and compliance into an object of density, pressure, and restraint.

Read more on our website. DM or email for additional information and preview materials.

Images:

1 -4) Elena Roznovan, 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦, 2024. Paper-composite, watercolor, graphite, umbilical cord stump, concrete, metal frame, bondage tape.

5-7) 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭, 2026 Pepto-Bismol cast ribbon, concrete, metal frame.

8) Elena Roznovan in studio.

@newartdealers @eroznovan

🗽
Central Server Works
NADA New York 2026
May 13–17, 2026

Booth A9

The Starrett-Lehigh Building
601 W 26th Street, 3rd Floor
New York, NY

CSW is pleased to present 𝘉𝘰𝘴𝘴𝘮𝘰𝘮, a solo presentation by Elena Roznovan (b. 1989, Chișinău, Moldova).

Bringing together cast concrete sculpture, composite paper-based watercolor works, and video, the presentation examines the postpartum body as a site structured simultaneously by intimacy, labor, care, and systems of control.

Central to the booth is a series of intimate paper-composite watercolor works in which image and material become inseparable. Built from layered paper pulp, watercolor, graphite, concrete, bondage tape, medications, breastmilk, hair, fingernail clippings, memory devices, and bodily remnants, the works function as material records of lived experience rather than symbolic representations. Small scenes drawn from the artist’s postpartum life emerge and recede within dense surfaces that hold tension between fragility and containment, tenderness and coercion. 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦 (2024) incorporates an embedded umbilical cord stump alongside a graphite inscription in the artist’s hand.

The recurring use of bondage materials and BDSM visual language introduces questions of restraint, submission, maintenance, and embodied regulation, linking domestic care to broader systems of pressure and control.

At the center of the presentation is 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭 (2026), a cast concrete sculpture scaled to the dimensions of a human torso. An oversized bow, cast from bismuth subsalicylate—the active ingredient in Pepto-Bismol—translates an internal condition into physical form, transforming a symbol of softness and compliance into an object of density, pressure, and restraint.

Read more on our website. DM or email for additional information and preview materials.

Images:

1 -4) Elena Roznovan, 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦, 2024. Paper-composite, watercolor, graphite, umbilical cord stump, concrete, metal frame, bondage tape.

5-7) 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭, 2026 Pepto-Bismol cast ribbon, concrete, metal frame.

8) Elena Roznovan in studio.

@newartdealers @eroznovan

🗽
Central Server Works
NADA New York 2026
May 13–17, 2026

Booth A9

The Starrett-Lehigh Building
601 W 26th Street, 3rd Floor
New York, NY

CSW is pleased to present 𝘉𝘰𝘴𝘴𝘮𝘰𝘮, a solo presentation by Elena Roznovan (b. 1989, Chișinău, Moldova).

Bringing together cast concrete sculpture, composite paper-based watercolor works, and video, the presentation examines the postpartum body as a site structured simultaneously by intimacy, labor, care, and systems of control.

Central to the booth is a series of intimate paper-composite watercolor works in which image and material become inseparable. Built from layered paper pulp, watercolor, graphite, concrete, bondage tape, medications, breastmilk, hair, fingernail clippings, memory devices, and bodily remnants, the works function as material records of lived experience rather than symbolic representations. Small scenes drawn from the artist’s postpartum life emerge and recede within dense surfaces that hold tension between fragility and containment, tenderness and coercion. 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦 (2024) incorporates an embedded umbilical cord stump alongside a graphite inscription in the artist’s hand.

The recurring use of bondage materials and BDSM visual language introduces questions of restraint, submission, maintenance, and embodied regulation, linking domestic care to broader systems of pressure and control.

At the center of the presentation is 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭 (2026), a cast concrete sculpture scaled to the dimensions of a human torso. An oversized bow, cast from bismuth subsalicylate—the active ingredient in Pepto-Bismol—translates an internal condition into physical form, transforming a symbol of softness and compliance into an object of density, pressure, and restraint.

Read more on our website. DM or email for additional information and preview materials.

Images:

1 -4) Elena Roznovan, 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦, 2024. Paper-composite, watercolor, graphite, umbilical cord stump, concrete, metal frame, bondage tape.

5-7) 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭, 2026 Pepto-Bismol cast ribbon, concrete, metal frame.

8) Elena Roznovan in studio.

@newartdealers @eroznovan

🗽
Central Server Works
NADA New York 2026
May 13–17, 2026

Booth A9

The Starrett-Lehigh Building
601 W 26th Street, 3rd Floor
New York, NY

CSW is pleased to present 𝘉𝘰𝘴𝘴𝘮𝘰𝘮, a solo presentation by Elena Roznovan (b. 1989, Chișinău, Moldova).

Bringing together cast concrete sculpture, composite paper-based watercolor works, and video, the presentation examines the postpartum body as a site structured simultaneously by intimacy, labor, care, and systems of control.

Central to the booth is a series of intimate paper-composite watercolor works in which image and material become inseparable. Built from layered paper pulp, watercolor, graphite, concrete, bondage tape, medications, breastmilk, hair, fingernail clippings, memory devices, and bodily remnants, the works function as material records of lived experience rather than symbolic representations. Small scenes drawn from the artist’s postpartum life emerge and recede within dense surfaces that hold tension between fragility and containment, tenderness and coercion. 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦 (2024) incorporates an embedded umbilical cord stump alongside a graphite inscription in the artist’s hand.

The recurring use of bondage materials and BDSM visual language introduces questions of restraint, submission, maintenance, and embodied regulation, linking domestic care to broader systems of pressure and control.

At the center of the presentation is 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭 (2026), a cast concrete sculpture scaled to the dimensions of a human torso. An oversized bow, cast from bismuth subsalicylate—the active ingredient in Pepto-Bismol—translates an internal condition into physical form, transforming a symbol of softness and compliance into an object of density, pressure, and restraint.

Read more on our website. DM or email for additional information and preview materials.

Images:

1 -4) Elena Roznovan, 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦, 2024. Paper-composite, watercolor, graphite, umbilical cord stump, concrete, metal frame, bondage tape.

5-7) 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭, 2026 Pepto-Bismol cast ribbon, concrete, metal frame.

8) Elena Roznovan in studio.

@newartdealers @eroznovan

🗽
Central Server Works
NADA New York 2026
May 13–17, 2026

Booth A9

The Starrett-Lehigh Building
601 W 26th Street, 3rd Floor
New York, NY

CSW is pleased to present 𝘉𝘰𝘴𝘴𝘮𝘰𝘮, a solo presentation by Elena Roznovan (b. 1989, Chișinău, Moldova).

Bringing together cast concrete sculpture, composite paper-based watercolor works, and video, the presentation examines the postpartum body as a site structured simultaneously by intimacy, labor, care, and systems of control.

Central to the booth is a series of intimate paper-composite watercolor works in which image and material become inseparable. Built from layered paper pulp, watercolor, graphite, concrete, bondage tape, medications, breastmilk, hair, fingernail clippings, memory devices, and bodily remnants, the works function as material records of lived experience rather than symbolic representations. Small scenes drawn from the artist’s postpartum life emerge and recede within dense surfaces that hold tension between fragility and containment, tenderness and coercion. 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦 (2024) incorporates an embedded umbilical cord stump alongside a graphite inscription in the artist’s hand.

The recurring use of bondage materials and BDSM visual language introduces questions of restraint, submission, maintenance, and embodied regulation, linking domestic care to broader systems of pressure and control.

At the center of the presentation is 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭 (2026), a cast concrete sculpture scaled to the dimensions of a human torso. An oversized bow, cast from bismuth subsalicylate—the active ingredient in Pepto-Bismol—translates an internal condition into physical form, transforming a symbol of softness and compliance into an object of density, pressure, and restraint.

Read more on our website. DM or email for additional information and preview materials.

Images:

1 -4) Elena Roznovan, 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦, 2024. Paper-composite, watercolor, graphite, umbilical cord stump, concrete, metal frame, bondage tape.

5-7) 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭, 2026 Pepto-Bismol cast ribbon, concrete, metal frame.

8) Elena Roznovan in studio.

@newartdealers @eroznovan

🗽
Central Server Works
NADA New York 2026
May 13–17, 2026

Booth A9

The Starrett-Lehigh Building
601 W 26th Street, 3rd Floor
New York, NY

CSW is pleased to present 𝘉𝘰𝘴𝘴𝘮𝘰𝘮, a solo presentation by Elena Roznovan (b. 1989, Chișinău, Moldova).

Bringing together cast concrete sculpture, composite paper-based watercolor works, and video, the presentation examines the postpartum body as a site structured simultaneously by intimacy, labor, care, and systems of control.

Central to the booth is a series of intimate paper-composite watercolor works in which image and material become inseparable. Built from layered paper pulp, watercolor, graphite, concrete, bondage tape, medications, breastmilk, hair, fingernail clippings, memory devices, and bodily remnants, the works function as material records of lived experience rather than symbolic representations. Small scenes drawn from the artist’s postpartum life emerge and recede within dense surfaces that hold tension between fragility and containment, tenderness and coercion. 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦 (2024) incorporates an embedded umbilical cord stump alongside a graphite inscription in the artist’s hand.

The recurring use of bondage materials and BDSM visual language introduces questions of restraint, submission, maintenance, and embodied regulation, linking domestic care to broader systems of pressure and control.

At the center of the presentation is 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭 (2026), a cast concrete sculpture scaled to the dimensions of a human torso. An oversized bow, cast from bismuth subsalicylate—the active ingredient in Pepto-Bismol—translates an internal condition into physical form, transforming a symbol of softness and compliance into an object of density, pressure, and restraint.

Read more on our website. DM or email for additional information and preview materials.

Images:

1 -4) Elena Roznovan, 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦, 2024. Paper-composite, watercolor, graphite, umbilical cord stump, concrete, metal frame, bondage tape.

5-7) 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭, 2026 Pepto-Bismol cast ribbon, concrete, metal frame.

8) Elena Roznovan in studio.

@newartdealers @eroznovan

🗽
Central Server Works
NADA New York 2026
May 13–17, 2026

Booth A9

The Starrett-Lehigh Building
601 W 26th Street, 3rd Floor
New York, NY

CSW is pleased to present 𝘉𝘰𝘴𝘴𝘮𝘰𝘮, a solo presentation by Elena Roznovan (b. 1989, Chișinău, Moldova).

Bringing together cast concrete sculpture, composite paper-based watercolor works, and video, the presentation examines the postpartum body as a site structured simultaneously by intimacy, labor, care, and systems of control.

Central to the booth is a series of intimate paper-composite watercolor works in which image and material become inseparable. Built from layered paper pulp, watercolor, graphite, concrete, bondage tape, medications, breastmilk, hair, fingernail clippings, memory devices, and bodily remnants, the works function as material records of lived experience rather than symbolic representations. Small scenes drawn from the artist’s postpartum life emerge and recede within dense surfaces that hold tension between fragility and containment, tenderness and coercion. 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦 (2024) incorporates an embedded umbilical cord stump alongside a graphite inscription in the artist’s hand.

The recurring use of bondage materials and BDSM visual language introduces questions of restraint, submission, maintenance, and embodied regulation, linking domestic care to broader systems of pressure and control.

At the center of the presentation is 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭 (2026), a cast concrete sculpture scaled to the dimensions of a human torso. An oversized bow, cast from bismuth subsalicylate—the active ingredient in Pepto-Bismol—translates an internal condition into physical form, transforming a symbol of softness and compliance into an object of density, pressure, and restraint.

Read more on our website. DM or email for additional information and preview materials.

Images:

1 -4) Elena Roznovan, 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦, 2024. Paper-composite, watercolor, graphite, umbilical cord stump, concrete, metal frame, bondage tape.

5-7) 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭, 2026 Pepto-Bismol cast ribbon, concrete, metal frame.

8) Elena Roznovan in studio.

@newartdealers @eroznovan

🗽
Central Server Works
NADA New York 2026
May 13–17, 2026

Booth A9

The Starrett-Lehigh Building
601 W 26th Street, 3rd Floor
New York, NY

CSW is pleased to present 𝘉𝘰𝘴𝘴𝘮𝘰𝘮, a solo presentation by Elena Roznovan (b. 1989, Chișinău, Moldova).

Bringing together cast concrete sculpture, composite paper-based watercolor works, and video, the presentation examines the postpartum body as a site structured simultaneously by intimacy, labor, care, and systems of control.

Central to the booth is a series of intimate paper-composite watercolor works in which image and material become inseparable. Built from layered paper pulp, watercolor, graphite, concrete, bondage tape, medications, breastmilk, hair, fingernail clippings, memory devices, and bodily remnants, the works function as material records of lived experience rather than symbolic representations. Small scenes drawn from the artist’s postpartum life emerge and recede within dense surfaces that hold tension between fragility and containment, tenderness and coercion. 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦 (2024) incorporates an embedded umbilical cord stump alongside a graphite inscription in the artist’s hand.

The recurring use of bondage materials and BDSM visual language introduces questions of restraint, submission, maintenance, and embodied regulation, linking domestic care to broader systems of pressure and control.

At the center of the presentation is 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭 (2026), a cast concrete sculpture scaled to the dimensions of a human torso. An oversized bow, cast from bismuth subsalicylate—the active ingredient in Pepto-Bismol—translates an internal condition into physical form, transforming a symbol of softness and compliance into an object of density, pressure, and restraint.

Read more on our website. DM or email for additional information and preview materials.

Images:

1 -4) Elena Roznovan, 𝘓𝘰𝘷𝘦 𝘪𝘴 𝘛𝘰𝘰 𝘊𝘭𝘰𝘴𝘦 𝘵𝘰 𝘏𝘢𝘵𝘦, 2024. Paper-composite, watercolor, graphite, umbilical cord stump, concrete, metal frame, bondage tape.

5-7) 𝘎𝘰𝘰𝘥 𝘎𝘪𝘳𝘭, 2026 Pepto-Bismol cast ribbon, concrete, metal frame.

8) Elena Roznovan in studio.

@newartdealers @eroznovan

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

One week since the conclusion of our presentation with Lenard Smith (@archivethestudio) at the 45th edition of the Photography Show.

Thank you to the selection committee and team at AIPAD for the selection and recognition of Lenard’s work.

We look forward to returning to the fair in the future.

Please email or DM for more information about Lenard and his work.

See you very soon NYC!

🗽

The Photography Show, presented by AIPAD (45th Edition), continues.

Park Avenue Armory, New York
Focal Point Booth FP6

Open today Saturday April 25:
12:00–7:00 PM

Central Server Works presents a solo installation of Lenard Smith.

At the core are works from 𝘙𝘦𝘨𝘢𝘳𝘥𝘪𝘯𝘨 𝘚𝘵𝘳𝘶𝘤𝘵𝘶𝘳𝘦𝘴 (2024–present), where photographic mattes are reconfigured as primary forms—compressed, stacked, and staged as speculative architectures. Across the presentation, forms lean, align, and hold in tension, positioning photography as both image and structure.

—

Images:

1. 𝘙𝘦𝘨𝘢𝘳𝘥𝘪𝘯𝘨 𝘚𝘵𝘳𝘶𝘤𝘵𝘶𝘳𝘦𝘴 #4456, 2024
2. 𝘉𝘶𝘭𝘪𝘵 𝘜𝘱 𝘚𝘵𝘳𝘶𝘤𝘵𝘶𝘳𝘦, 2023

All artworks are archival pigment prints in editions of 3 + 2 AP.

@archivethestudio
@aipadphoto

🗽

The Photography Show, presented by AIPAD (45th Edition), continues.

Park Avenue Armory, New York
Focal Point Booth FP6

Open today Saturday April 25:
12:00–7:00 PM

Central Server Works presents a solo installation of Lenard Smith.

At the core are works from 𝘙𝘦𝘨𝘢𝘳𝘥𝘪𝘯𝘨 𝘚𝘵𝘳𝘶𝘤𝘵𝘶𝘳𝘦𝘴 (2024–present), where photographic mattes are reconfigured as primary forms—compressed, stacked, and staged as speculative architectures. Across the presentation, forms lean, align, and hold in tension, positioning photography as both image and structure.

—

Images:

1. 𝘙𝘦𝘨𝘢𝘳𝘥𝘪𝘯𝘨 𝘚𝘵𝘳𝘶𝘤𝘵𝘶𝘳𝘦𝘴 #4456, 2024
2. 𝘉𝘶𝘭𝘪𝘵 𝘜𝘱 𝘚𝘵𝘳𝘶𝘤𝘵𝘶𝘳𝘦, 2023

All artworks are archival pigment prints in editions of 3 + 2 AP.

@archivethestudio
@aipadphoto