Linda Fleming is always thinking about light—how it moves through, over, and around her work. In conversation, she points out how the play of cast shadows echoes and enlivens the complex, latticed surfaces and curving forms of her sculptures, which range from paper and wood maquettes only a few inches across to powder-coated, lasercut steel works that are large enough to enter. The chairs placed within Reverie (2008) make the invitation to come inside explicit, offering a place to sit and contemplate the surrounding swirling shapes. The intricately cut planes of intersecting lines might be diagramming the paths of stars and nebulae or maybe visualizing the movement of atoms. Fleming, however, gives no explanation of their meaning or origin, despite the fact that she is intensely curious about a wide variety of scientific subjects …see the entire article in the print version of November’s Sculpture magazine.