I create work around socio-cultural and anthropological themes. My objects, installations and projects examine the datum plane of the viewer and the syntax of communication.
My sculpture results primarily from acts of proximity adjustment. Through investigations in the studio, I build a syntax referred to as the art object. The sculpture can also be the introduction of an idea into a space.
When proximity adjustment is the method of creating sculpture, the materials and methods used to assemble, group or otherwise relate objects are of equal importance. The adjustment can involve changes to the object, the object’s environment, the context or location of the object or the way in which the object is displayed or referenced.
The placement of an idea into a proximity relationship is a conceptual act of sculpture. This may involve the presentation of an object/idea through words, symbols, situations and other media. The object/idea could be an art object, media such as sound or light or an even more elusive/intangible force.
The work is perceived by the viewer with the sense doors; the thought of mind, the feel of touch, the hearing of sound, the seeing of light, and the fragrance or bouquet of smell or taste. Perhaps the art will access other senses such as the physical sense of balance felt by the inner ear, the acute sensitivity of pheromones or the empathic and intuitive senses.
When trying to describe sculpture beyond its formal characteristics the viewer enters a kind of interpretive quicksand. They ask “what is its purpose, its meaning, its value, its effect?” The first instinct of the mind is to compare new experiences with old experiences. (The eyes do not see without the mind. There is no sight without the thought of seeing.)
It is therefore necessary to unlearn a certain series of perceptual habits in order to successfully see not what the mind finds familiar in art, but rather what is actually there in the work we are examining.
Michael Paul Oman-Reagan, 2008