Feigl (1983) is intrigued by motion and by how materials behave differently when set in motion. What inspires him are changing patterns, irregularities, such as the ridges and scales in the sand of a beach that continuously change by wind and water or the twisting movement of a rope, a ribbon or a heavy chain: each material behaves in a unique way. Feigl plays with these materials and tests their limits. In that process he distills that one exciting moment, exposes and enlarges it, and directs his audience to see what he sees. His installations seem to defy the laws of nature, sometimes threatening and overwhelming, sometimes elegant and playful.
Feigls work refers, among other things, to the struggle of mankind with control. Through constructions and technology humanity has created forces that can barely, if at all, be controlled. The machines that control the forces of nature have their limitations. In the long run our structures are just as fragile and transient as we are.
The term sea-change is used to mean a metamorphosis or alteration, sometimes significant, sometimes superficial, referring to the constant changes the work goes through. Small insignificant incremental changes that slowly/hopefully create a different view while all of us move through these fastly shifting times. In these changing times the paradigm shift might be lurking within all these slowly revolving processes.
Feigl comments on the aesthetics of his kinetic predecessors and presents sleek, formal and poetic imagery with his dynamic machines. The austere forms of his installations, the subtle carpet of sound that often accompanies his work and the hypnotic regularity, at the same time deal with the naive dream of techno-optimism and offer an ingenious and strong alternative. Technology and forces of nature are our inseparable companions.