Linda Fleming at Linda Durham

Linda Fleming's new show, "(Dis)Integrated Ingredients," continued her long-standing exploration of by what means complex constructions evolve out of simple geometric forms. From the early 1970 to the mid-1980s, Fleming made assemblages of very large 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 carburet of iron 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 carbonized iron pieces that suggest the infrastructure of flying saucers are more refined and les punchy than the earlier outdoor works. Pink Wobble (21 by dint of 52 by 52 inches) and virid Lace (31 by 59 by means of 59 inches) are openweave configurations with colored enamel edging; Glimpses (31 by means of 59 by 59 inches) is fabricated of carburet of iron wedges radiating from the core and studd with spherical magnifying lense Simpler and more striking were three black neoprene webs (45 by means of 55 inches) that flattened Fleming's sculptural forms into thin ovoid silhouettes.

Best in display 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 generates 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 direct the eye down on long tables whose plunging perspective carries the organ of vision up and back to rounded pillars archways and balustrades in down-reaching space. But rather than rendering the entire pageant Fleming omitted sections, as if she'd laid single of her neoprene webs above the image and filled in the lay open spaces with celery-green pencil knocks This reduces our view of the Wunderkammer to thick criss-crossing slivers. At lower right, the image remains largely intact, on the contrary moving outward, the green increasingly dominates, flattening perspective, breaking illusion, reducing the Wunderkammer into linear incident. on the other hand in Fleming's Piranesian system, those linear ultimate parts also assert a spiraling motion from lower right to upper left tugging against the residual stasis of the image.

Intentionally or trap Green Time introduces an ideological critique as well, for this show of cataloguing and display demonstrates in what way archival activity itself confers value. The realistic view is literally poked through with openings that reveal its constructedness.

A smaller swing housed six monumental 1989 graphite drawings of Roman goblet (92 by dint of 64 inches). The images posses a pronounced sculptural quality: Ribbon Goblet's shiny surface bear likeness [i]or[/i] resemblance tos polished marble, with geometric overlays and incisings reminiscent of animal bone We have feeling Fleming's fascination with the workings of time: what breaks, what can be reassembled, what endures

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