Michael Rey’s wall-mounted artworks inhabit the intersection between painting and sculpture, melding three-dimensional structures with painted exteriors. These pieces are constructed from oil plasticine using an experimental technique that results in a delicate, skin-like surface. The perforations in these otherwise seamless forms serve as spatial markers, enhancing their object-like quality by punctuating and penetrating the surfaces. Rey’s creations manifest a non-hierarchical interplay among color, shape, and surface, akin to the minimalist approaches of Donald Judd and John McLaughlin. These wall artworks emerge from Rey’s dreams and doodles, commencing as unfamiliar shapes that transform into symbols of broader cultural significance. Rey examines the innate human inclination to seek meaning in all things while highlighting the malleability of images in an age dominated by technology.