Polanszky’s sculpture is made from raw, found materials that have the patina of age. He brings together disparate material discarded by society to form aggregates. Although it is not his intention to make works of meaning the viewer endows them with poetic meanings and constructs. For Polanszky making sculpture is to conduct a meeting of multiple parties. Nevertheless a sense of history is foundational to the perception of the finished work. This sculpture, for example brings to mind not only Epstein’s and Brancusi’s bird sculptures, e.g. Doves 1914-15 and The Cock 1924, but images of ancient sea vessels, for example the mythical Argo. It has an incredible lightness as a result of its translucence, its arcing shape and its suspension above the plinth. Because of its translucence and the sitting of the sculpture at eye level, Polanszky also incorporates the spectator into the work, since if two people view it from either side they view each other through it. Trapped within the sculpture is another sculptural form, the work thus becoming a sarcophagus, an ancient burial chamber for precious objects. This sculpture is resonant with history, myth and poetry. But the sculpture does not consist solely of the plastic element but the entire construction of plinth and object. To that extent it makes reference to the work of Giacometti and Polanszky’s contemporary Franz West.