Matias Faldbakken simply has a way with three-dimensional forms. Perhaps his best-known treatment of material is taking the weighty products of heavy industry, winding brightly colored lever straps around them, and cinching them until the hollow shapes buckle. In fact, Faldbakken’s formal repertoire is diverse yet elemental, as if underlined by Richard Serra’s seminal “Verb List” from 1967–1968: He has filled steel petrol cans with concrete, stacked cardboard boxes, tumbled rows of books to the ground (as in his well-known work for dOCUMENTA 13), tied fire extinguishers together, and bound plastic jugs to the wall with plastic wrap. As is quite clear, though, the materials that he uses resonate, based on an underlying narrative logic, with the processes that he submits them to.This is the case as well with the artist’s edition "Jerry Can Cut" for TEXTE ZUR KUNST. In order to produce the work, Faldbakken lined up a few dozen cans in a row. Then he slashed back and forth across the front of them with an angle grinder. The resulting objects - sections of a larger whole, details of the crisscrossed drawing that he carved into their surface - possess a direct and apparent connection to the process that marked them all. And these forms are determined by the industrial tool used in making them as well as by the basic geometry of the slices. As a result, each reflects its participation in the traffic of goods: Their incompleteness, the fact that a series of structurally dependent component parts are circulating separately, signifies the interconnected networks of their exchange.