“The willow sees the heron’s image… upside down.”
This Haiku of Basho gives the parable of the hypothetical construct of world view and our individual anchoring in it.
On a ride through foreign places, the glance on cultural identity separates into its fragments. The fragments arise from interior, medial, dreamt pictures, fed on yearnings, projections and surfaces. Sequences occurs which allow complex layering: the token picture is the picture of the picture of the picture.
The stereotype is the beginning of the entanglement into the question of the point-of-view – Polster leads the gained material across into a poetic pictorial language, which refers to our economic, medial and social canon, simultaneously questioning our cultural technique. The comprehension suggests itself that all monitoring is fragmentary, bounded, subjectively. But it gives birth to a lively flow, whose opulence and movement indeed clears not the view to the ground, but it flows – along constructed streets, collected remains, improved buildings, courted relics, carried time.