A romantic interpretation of my work methods (video 11 min. loop, 2005/2006)
Structure here is a metaphor for something “made evident”, “trans-aggregate” here means the instable construct of a subjective reality, pointing beyond a seemingly stable condition.
My work is an attempt to reorder correspondences to imagination patterns, to change them and to rearrange my thought structures. I assume that there are habitual structures adapted from repeated habitual processes of experience which can be recurred to in identifying what is perceived.
In the play of perception and experience, it seems one is supposed to decode the external image that is offered, and one makes use of the memonic material, the available patterns of similarity, which are moulded until an apparently congruent model of reference ensues.
The convention on the interpretation of experience is on the one hand empirical via the senses, on the other hand organized and pre-formed by rational, deductive structures in the cognitive system.
In my work, I try to modify the basic material by distorting and exaggerating just these mental imagination patterns and to eshew the emprisonment of the biologistic, adaptive conditions of sense. Thus my work is the expression of a kind of perpetuum of continual reorganization via my mental invention machine. The fewer cues for making sense I include in the material and its use, the harder the “invention machine” has to work to invent an order as a bridge to an understanding of the “new”.
What “points outward” in the “trans-aggregate structure” of course itself always remains “inside”, and so the “artifacts” thus produced, as the objects of my work, are my remaining outposts.
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La producción de Polanszki pretende estar en el límite de una estructura de pensamiento ya asimilada que en combinación con otros elementos/condiciones obligan a crear nuevos nexos, asociaciones mentales (que podrían ligarse a la idea de absurdo) que amplían la posibilidad de interpretaciones de quien las observa. Dentro de su propuesta Polanszki propone que el sentido del arte se encuentra en la evolución del pensamiento porque sino el arte se convierte en el espectáculo.
