When Alexander Calder started crafting mobiles in 1951, he described the form as “detached bodies floating in space, of different sizes and densities, perhaps of different colors and temperatures, and surrounded and interlarded with wisps of gaseous condition.” Around the same time, young Thaddeus Mosely, a recent graduate of the University of Pittsburgh, was working for the U.S. Postal Service. It was a day job that supported his nighttime passion—sculpting. Mosely was using a chisel when he discovered Calder’s sculptures: they profoundly affected his use of space. The two artists eventually met in 1958, at Pittsburgh’s Carnegie Museum of Art, and a decade later Mosely had his own exhibition there. Calder died in 1976. Mosley is now 98 and still creating large-scale wood sculptures in Pittsburgh, pieces he describes as “sculptural improvisations.” Seattle Art Museum’s exhibition explores the impact of Calder’s legacy and the now widely-celebrated career of an artist he inspired—Mosely. —Lucy Horowitz