Thierry Feuz


Technicolor Stratus Omega (Riva)


110 x 80 x 12 cm
Lacquer and acrylic on canvas


Technicolor Horizon I


140 x 170 x 12 cm
Lacquer and acrylic on canvas


Technicolor Stratus Goldrush (Hermes)


110 x 75 x 12 cm
Lacquer and acrylic on canvas


Technicolor Stratus Pallas


110 x 90 x 12 cm
Lacquer and acrylic on canvas


Technicolor radiant Panorama


80 x 140 x 12 cm
Lacquer and acrylic on canvas


Technicolor double panorama corniche


50 x 180 x 12 cm (x2)
Lacquer and acrylic on canvas


Technicolor Quadra Posseidon


110 x 75 x 12 cm
Lacquer and acrylic on canvas


Psychotropical Soraya


110 x 90 cm
Lacquer and acrylic on canvas


Perfect Day Serena


110 x 90 cm
Lacquer and acrylic on canvas


Perfect Night Pompadour


110 x 90 x 4 cm
Lacquer and acrylic on canvas


Mistral VI


110 x 90 cm
Lacquer and acrylic on canvas


Substrat Victoria


100 x 120 x 100 cm
Mixed media, lacquer, glitter, ceramic, glass


Substrat Maurizius


100 x 110 x 90 cm
Mixed media, lacquer, glitter, ceramic, glass


Sirius


180 x 180 cm
Lacquer et acrylic on canvas


Silver Winds Panorama


130 x 200 x 4 cm
Lacquer et acrylic on canvas


Silver Winds Crystal Panorama


130 x 200 cm
Lacquer et acrylic on canvas


Silver winds Arcadia


200 x 160 x 4 cm
Lacquer et acrylic on canvas


Purplet winds


160 x 130 x 4 cm
Lacquer et acrylic on canvas


Geometry of Miracles II


200 x 160 cm
Lacquer et acrylic on canvas


BIOGRAPHIE

| THIERRY FEUZ |

Thierry Feuz, born in Vienna in 1968, now lives in Geneva. He studied at the Ecole Supérieure des Beaux-Arts, Geneva and at the Universität der Künste, Berlin. He graduated of his MFA at the Ecole Supérieure des Beaux-Arts HES-SO, Geneva.

The artist has created an ongoing series of paintings—“Supernatural,” “Psychotropical,” “Technicolor,” and now “Gulfstream”— over the past five years. While separated into distinct groups, the paintings in these series share a fundamental characteristic. Each successive series appears to magnify the view of the preceding one, as though seen through a microscope. Feuz uses this scientific corollary to reexamine classic conceptions of nature. This force that is beautiful appears yet always already in decay. His combination of abstraction and figuration articulates this deteriorating materiality. It allows his investigation into permutations of instability—of perspective, physicality, and organicism.

“The organic paintings are close-ups,” Feuz explains. As if we entered a landscape and the details of a strange, humid, wet, and dangerous life became visible. The artist’s exploitation of this tension here prefigures his move in subsequent paintings to further abstract his imagery. Thus, Feuz’s perspectival strategy has affected a specific and rounded vocabulary of picture making. His work is part of the Meeschaert Collection and you can now find him in Marciano’s galleries.

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