The imposing assemblage Ziggurat polar stands 163 centimetres tall. Contained in a rectangular box, the work’s central feature is a found print of an ice castle with gun fire and fireworks erupting in arcs. At the bottom are two wooden plaques, one of which is painted red and says ‘VIVA’, the other one is painted green and says ‘MEXICO’. Ascending through the middle of the work are a series of affixed objects, including a small wooden box with two miniature croissants overlapping to form an X and two dice showing three and six; a sign announcing the Cirque d’Hiver at Boulevard du Temple in Paris; and two flat cardboard figures facing one another and holding hands at arm’s length. Finally, an enormous erect penis and two breasts made of clay are attached to the body of the woman who crowns the ice castle. Combining references to nineteenth-century Montreal, Mexico’s Independence Day and the city of Paris, Ziggurat polar resounds with transcultural exuberance. It is a poetic treatment of the sense of multiple belongings of its maker: Alan Glass.