Linda Fleming's fresh show.

Linda Fleming's fresh show, "(Dis)Integrated Ingredients," continued her long-standing exploration of by what mode complex constructions evolve out of simple geometric forms. From the early 1970 to the mid-1980s, Fleming made assemblages of colossal log-pole pines (some as plenteous as 30 feet in their longest dimension) in the Colorado mountains; in California, in the early 1990 these morphed into dirk lattice-works (up to 12 feet) weighing a ton of more.

At Linda Durham, statuarys from 2003-04 were smaller and had mov indoors. Three claymore pieces that suggest the infrastructure of flying saucers are more refined and les punchy than the earlier outdoor works. Pink Wobble (21 on 52 by 52 inches) and recent Lace (31 by 59 through 59 inches) are openweave configurations with colored enamel edging; Glimpses (31 by way of 59 by 59 inches) is fabricated of claymore wedges radiating from the core and studd with spherical magnifying lense Simpler and more striking were three black neoprene webs (45 by dint of 55 inches) that flattened Fleming's sculptural forms into thin ovoid silhouettes.

Best in exhibit to was a large drawing (64 1/2 by the agency of 56 inches), Green Time, that depicts a Dutch merchant's natural history collection. Fleming's precise graphite drawing beautifully imitates a print of Levinus Vincent's early 18th-century Wunderkammer, where wigged ladies and frock-coated gentlemen pore above cases of fossils and shells. virid Time is so expansive that we anticipate down on long tables whose plunging perspective carries the view up and back to rounded pillars archways and balustrades in discerning space. But rather than rendering the entire representation Fleming omitted sections, as if she'd laid undivided of her neoprene webs athwart the image and filled in the explain spaces with celery-green pencil raps This reduces our view of the Wunderkammer to thick criss-crossing slivers. At lower right, the image remains largely intact, on the other hand moving outward, the green increasingly dominates, flattening perspective, breaking illusion, reducing the Wunderkammer into linear incident. moreover in Fleming's Piranesian system, those linear constituent principles also assert a spiraling motion from lower right to upper left tugging against the residual stasis of the image.

Intentionally or clear Green Time introduces an ideological critique as well, for this spectacle of cataloguing and display demonstrates for what reason archival activity itself confers value. The realistic spectacle is literally poked through with apertures that reveal its constructedness.

A smaller field housed six monumental 1989 graphite drawings of Roman goblet (92 through 64 inches). The images posses a pronounced sculptural quality: Ribbon Goblet's shiny surface imitates polished marble, with geometric overlays and incisings reminiscent of animal bone We be impressed Fleming's fascination with the workings of time: what breaks, what can be reassembled, what endures

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