In a characteristic manner, Sailstorfer’s work presented at Jupiter demonstrates his unique understanding of the vocabulary of sculpture, formalising and transforming known materials or mechanical systems into objects that readily and thoughtfully transcend their original purpose.

At once solemn and darkly humorous, these works are imbued with a captivating tension, hinting at notions of destruction, transformation, and change. In Traenen, the artist gently assuages our visions of industry and change with wrecking ball tear drops. As the thunderous echo from the Doo’cot and Brenner emits its smoke upwards and into the sky, the “raindrops” in Traenen deliver a multitude of destructive blows onto an unassuming house below.

As the video begins, what appear to be exaggerated, cartoon-ish raindrops quickly make themselves known as very real, and very heavy, custom-fabricated wrecking balls. Three “drops” fall in succession, gradually obliterating the roof and chimney. The outer and inner walls come next, following an orderly system until the house stands in a ruinous heap. At this point we have a sense of satisfying conclusion, albeit one that comes from seeing a somewhat callous job completed.

Visually, the removal of the wires attached to the wrecking balls in post-production editing imparts a sense of wonder or spectacle to the entire video. It’s a simple, technical act, but one that offers many rewards for the viewer, as it has the ability to keep this video in the realm of the fairy tale rather than that of practical or pragmatic, linear sequence.