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.