His works undermine conventional modes of seeing and are infused with a deep irony.
The focus on often overlooked details, objects and their relations, as well as on everyday items also plays an important role in Feiersinger’s photographic practice. Besides Le Corbusier’s work, he has been particularly interested in Italy’s post-war modern and as of lately Croatian industrial architecture, with the sculptor’s view always at the forefront. Not only does his interest the aforementioned architecture involve meticulous research but it is also characterized by an unceremonious dealing with the subject matter, a departure from these icons of modernism, and a breaking free from the canonical modes of perception and representation. In both his sculptural work and his photographs what he is concerned with are “zones of transition between subjective gaze and analytic observation, between autonomous object and functional utility, between architecture, design, and art (…).” (Barbara Steiner)
“His work, for all of its industrial precision and frequent physical hardness, is not just human but fulsomely humane, tender even; there is usually an element within each sculpture that pushes against industrial inhumanity—the objects are made by the artist, the surfaces are often modeled. […] Feiersinger establishes a sculptural vocabulary that looks modernist and geometric but then lets in the subjective, human material that modernism excluded. What he chooses to let in is the type of thinking that swims around our brains in unguarded moments: What am I doing here? I miss my childhood’s freedoms. How long will I live? What comes next? He accesses this by automatic drawing. A lot of what comes out are objects that look back to playgrounds or look toward later life, or are objects that are compounds, between.” (Martin Herbert)