With their extremely built-up structures, his work gives us the-perhaps illusory-impression that they are an organic deployment of shapes and owe more to the logic of living things than to any abstract decision….
….. For in his hands painting is first, in the chronological sense of the word, a question of programme: before the gesture, before the scraper spreads any paint, comes a series of decisions.
Which plates? Which arrangements? Which material? And what then? …
….. Next comes chance, the event whose arrival Pologny can only prepare for, as he can never predict its form.
Painting is that space in which the unexpected happens within the scope of the foreseen. In any event, it becomes clear why this artist, who takes such finicky pains to prepare the act of painting, refuses to confer even a minimum of retrospectivite unity on whatever has happened in its process. If he composes at all, it is before he spills paint on the plate. Then he spreads the paint, and he observes what happens, as one might observe life unfolding under one’s eyes. Life as a thing you’ve created and which for this reason escapes you.