The idea of this series is to find a rhythm between ‘grounding’ and ‘flight’. The technical basis is canvas on cardboard.

The ‘grounding’ is formed by the still life in the form of a medicine package that is sober only at first glance: the industrial shell becomes a meditation on the technochemical fine-tuning of our consciousness.

For Feiler, pharmaceuticals are a symbol of ‘system-compatible’ coping with reality and creep into his paintings again and again; here the industrial products for adjusting consciousness are exposed in the format. The Campbell’s soup of modern times is Tramadol.

The ‘flight’ are intervening free experiments with which Feiler seeks new perspectives after working for about 1 year on the ‘tabula cebetis’, soon to be published with a book.

300, 2023, 30 x 24 cm, Acrylic on canvas on board.

Ausschleichen, 2023, 25 x 25 cm, Acrylic on canvas on board.

By the River, 2023, 25 x 25 cm, Acrylic on canvas.

the canvas is glued to a board, it would be the question here as with all other works so designated, whether they would not be better framed than simply hanging flat on the wall…

For rigid and strongest pains, 2022, 25 x 25 cm, Acrylic on canvas on board.

The alienated medicine packages are actually part of their own series. It is an exaggerated into the absurd reference to still lifes as they appeared in pop art.
(eg Warhol’s Brillo packs, Campbells’ etc.).

Pharmaceutical products as consumer icons, for the fine adjustment of the reality managemen.

Hä Hä, 2023, 25 x 25 cm, Acrylic on canvas.

Heavy meds, 2023, 25 x 25 cm, Acrylic on canvas on board.

Ruehlemann, 2023, 24 x 30 cm, Acrylic on canvas on board.

“ruehlemann” is a hyper- or as I would call it- transfotorealistic study: it is not simply the photo that is painterly realized, but also its resonance and reception in the social media context. This image moves beyond any color or compositional image aesthetic. Rather, it examines the mechanisms of the information society with its sometimes brutally cynical constellations.

The birth of the unicorn, 2023, 25 x 25 cm, Acryl and aquarell on canvas on board.

Das Bild ist inspiriert durch präraffaelitische Künstler wie etwa Richard Daad und dem Sujet der Feenbilder des 19 Jahrhunderts. Die Malerei ist bewusst zart wie Blüten gehalten, Feiler improvisiert frei Figuren und sucht sie zu fassen so wie man sich an einen Traum erinnert.

The painting is inspired by Pre-Raphaelite artists such as Richard Daad and the subject of 19th century fairy paintings. The painting is deliberately delicate, like flowers, Feiler freely improvises figures and seeks to capture them as one recalls a dream.