How can we imagine the order of prime numbers other than in the familiar linear form of the series? By endowing it with a spatial aspect, a third dimension, for example, so that a prime space emerges. Which (new) cognitive possibilities open up when the perception of negative and positive spaces, of internal and external demarcations, is inverted? These and similar questions preoccupy Rudolf Polanszky, as do fundamental themes in mathematics and epistemology or ancient Greek schools of thought. In his sculptures, pictorial reliefs, writings, and actions, he lends them a provisional manifestation that conveys a positively poetic lightness.
Polanszky’s preferred materials include acrylic glass, metal, mirror foil, synthetic resin, wire, and plastic foam. Working with these staples, he sets them free by disassociating them from their original purposes or intended uses. Superimposing and layering strata, interleaving, nesting, or folding elements, he creates new structures. The artist’s term for this nonlinear and spontaneous procedure of piecing together existing materials and accidental forms is “ad-hoc synthesis.” The resulting “trans-linear” or “trans-aggregate” structures, Polanszky says, are “an unstable construct of a subjective reality that points beyond a seemingly stable condition.”