Level of Service Not Required, the gallery tucked just off Ivanhoe Avenue and Cave Street in La Jolla, takes its name from the medical rating scale for patient visits. But in this space, art doesn’t come with a billing code or a measure of labor. Founded by medical professionals, the gallery rejects calculation and embraces openness.

Its latest exhibition, “Everything and Anything,” opened on Aug. 1 and runs through Sept. 13. 

The group show begins with a simple question: What fills the spaces between the great junctions of birth and death?

At the gallery, attention is given to “the fluff”— the filler, fragile, funny, sometimes absurd and often overlooked moments that take up the gaps between the big milestones. The result is an eclectic gathering of works that feel both personal and universal, humorous and heavy, and everything and anything all at once.

C Fodoreanu and Jerry Strohkorb, co-owners and directors of the gallery, also have work in the current showing. Both are fiercely dedicated to a balanced journey through life’s milestones as they serve the community in their medical practices. 

With a unique position to witness the highs, lows and ordinary moments that their patients experience, they bring a profound sense of empathy and perspective to their artistic practice.

“In my medical practice, I witness many patients and family units in a variety of life instances,” said Fodoreanu. “From joyful news of a new baby, to the opposite extreme, and everything and anything in between … What I come to understand is that if we ignore the uniqueness of each story, if we let the “fluff” dissipate in this never-ending reel, all that is left is life and death.”

The gallery’s statement describes the show as “the fluff that is filling and wrapping the story structures of our lives, at each step, at each level – from being born to falling in love, to finding a passion, getting ill and passing on.”

While the phrase “fluff” might be associated with triviality, here it gains weight, suggesting that what we dismiss as filler might actually be the substance of life itself.

The gallery’s compact setting allows for intimate moments with the work, a contrast to mainstream galleries that often hold viewers back from close engagement. Some pieces evoke laughter, others unease, but together they construct an experience of life’s texture.

“Everything and Anything” offers no hierarchy of importance. Instead, it insists that the filler, the awkwardness and the overlooked fragments matter just as much as the monumental events humans use to mark the passing of time. In doing so, it reflects the artists’ shared commitment to complicating and rewriting how we understand significance.

When a level of service is not required, as in the case of the gallery name itself, the service comes from the heart.

The exhibition features six artists: Sophia Cleary, April Rose, Dove Cochrane, Adele Gaburo, Louise Russell and Andrew Wharton.

Cleary, a University of California, San Diego master of fine arts candidate, contributes works that merge performance and object with the use of surplus UCSD medical supplies.

“Campus Benefits” (2025) arranges found exam tables, clipboards and dust into an unsettling environment that depicts power, absurdity and institutional neglect. “Scope” (2023), a cluster of stainless steel specula, transforms tools used in women’s healthcare and medical examination into an exploration of sculptural reflection.

Rose, known for her interdisciplinary practices such as fiber, ceramics and collage, contributed “WTF” (2018) and “OMG” (2019), ceramic works whose titles alone signal that the pieces aren’t to be taken too seriously. Their presence in the exhibition reminds viewers that absurdity persists, and it is both timeless and grounding.

Rose utilizes accessible, salvaged and repurposed supplies along with natural elements. Her past work includes designing and crafting onstage outfits for Post Malone’s Hollywood Bowl performance in 2018 and hand-painted stage wear for his 2019 international tour.

Cochrane, another artist featured in the exhibition, is dedicated to studying the raw, unpolished and melancholy moments of life by giving them the same attention as the grand moments often portrayed in traditional paintings.

Cochrane contributed oil-on-wood paintings, including “2359” (2024), a meditation on time’s thresholds, and “Butt Crack Guy” (2024), an unapologetically humorous figure that pokes fun at everyday awkwardness. The piece leaves viewers to decide whether they see an obvious faux pas or a person so consumed by the stress of everyday survival that dignity is an afterthought.

Gaburo, a 2025 graduate of San Diego State University’s sculpture program, continues her exploration of body dysmorphia and the body as a site of memory, history and vulnerability. Her piece titled “Flesh Record” (2025), a silicone and fabric sculpture, suggests skin as both an archive and a fragile container.

Her photographic prints, titled “The Droop #1” (2024) and “The Droop #2” (2024), lean toward humor and discomfort, depicting misshapen and warped bodies with unnaturally occurring extensions of body parts. The prints comment on the pressures of meeting unrealistic beauty standards, the male gaze and how this pressure can often feel like a disease in need of study. 

“C Fodoreanu reached out to me about joining the group show, letting me know that space was limited and I had three weeks until the opening,” Gaburo said. “I came up with this shape mimicking stalactites hanging in caves. Scientists can cut into a stalactite and read its history from the rings. I imagine the same if you looked inside ‘Flesh Record,’ you could see my history that even the people closest to me don’t know.” 

Russell, whose photographic practice often reflects on memory and the traditional territory of the Kumeyaay, contributed “Spirits from Reverence: San Diego River” (2022), an archival pigment print on white gold leaf. A place often demonized as a haven for the homeless, the San Diego River shines brightly in this idyllic image.

With light playing off the gold leaf at unexpected angles, this work captures attention even at the edge of your peripheral vision.

Wharton, also a UCSD MFA candidate, pushes into digital and hybrid terrain with “Chimera” (2025), a looping 9-minute single-channel video. In his short video installations, titled “Apparition 1” (2025) and “Apparition 2” (2025), uncanny figures flicker into existence before dissolving.

“Apparatus” (2025) blends 3D-printed sculpture with micro-video loops, towing the line between organic and synthetic art. The piece incorporates digital video, archival footage and custom image diffusion models.

“Galvinist 1–5” (2025), a series of small inkjet prints on gessobord, extend Wharton’s experiments using fragmentation and repetition.