For Feiersinger, referring to great Modernist architecture and to the formal language of Minimal Art is not an end in itself, not an attempt at harnessing the glory conferred on them by art history. It is more a matter of taking up the dogmas that once drove these movements forward, while at the same time hollowing them out completely, treating them like puzzles. What once marked transparency sinks into the shadows; what was at pains to achieve factuality and pure presence suddenly appears hopelessly laden with meaning; what distanced itself as far as possible from ordinary objects is suddenly mistaken for them. (…) Feiersinger takes the way minimalist objects are both fact and fetish at the same time – both an empty index of a structure and a heavy, meaning-laden presence of artistically intended fabrication – and pushes it to the point of silently screaming contradiction. As we have seen, his sculptures constantly flirt with the status of designer objects or architectural models, without ever becoming these things. Secondly, they often appear as twins or in a ‘duel’ of two similar or identical objects: not unique but also not mass-produced, marking the dividing line between artistic-artisanal production and industrial manufacture, between sacred object and commodity. Thirdly, they probe the grey area between imprint, shadow and skin, where positive and negative space, sculptural figure and ground, production and consumption overlap in reality. Fourthly, in a similar way, they also inhabit the grey areas between historical movements in art and architecture. The sculptures become oxymoronic, appearing ready to burst. Like the intelligent bomb in John Carpenter’s science fiction film Dark Star (1973), they have been fed with contradictory data concerning their function, schizophrenically trapped in the question of whether to be at rest or explode.

Jörg Heiser, Neues aus der Schattenwelt; in: Christoph Keller (Hg.), Werner Feiersinger: Skulpturen. Frankfurt a. M. 2004, p. 10