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Carbon 12

Private Gallery
Interview with thierry feuz on
  DE51GN spoke to Swiss artist Thiery Feuz at the opening of his exhibition titled Microworlds and Macrovisions Dubai’s Carbon 12 gallery.

How would you define the term abstract in context of your work?

Abstraction is a very open and elastic definition. My paintings (the psychotropical series, the organic ones), can be seen as landscapes, under-water world and microscopic universe. However, once you look at them closely, everything becomes more abstract, and the viewer sees a world that has nothing to do with figuration, but rather an explosion of colours, epidermic structures, and layers.
The same thing for the Technicolour series. They can be “read”/seen not just as far-away landscapes, the horizon, but also like a scenery of pure colours and energy fields, especially once you get closer. It is all a matter of how you view it, interpretations and of zooming in and out.

Besides nature, what inspires you the most?

Advertising, since it unites cutting-edge state of the art techniques/technologies and unlimited financial resources. In that field, the creativity, sense of humour and vitality should be concentrated in order to create a maximum impact in minimum time. This resembles also to a certain extend (barring the unlimited financial resources!) to my work. I would like to create visual surprises, and communicate via my visual medium, what is impossible to communicate.

Who are your favourite artists?

Peter Doig for his romantic approach yet savage and melancolic view of the world. He describes landscapes, sceneries with abstract notions, but always refers and touches our collective memory. His works are in a tropical and suffocating atmosphere inviting us to a tender deflection. Another artist is John Everett Milliais, a pre-Raphaelite painter (a movement coming from 19th century England, recognised for a very scientific approach about the vegetal world and psychological potraits). The nature painted by Milliais is very artificial and well-studied, every single grass, seems to be dissected under a microscope.

What are the other themes that you are currently working on?

I am currently preparing a series of paintings “zooming” the organic structures of the “psychotropicals”, as if the closer I would go, the bigger the elements would become. In a way they will be a slip towards abstraction as I mentioned it above. I am also working on a series of drawings on paper, a bit more graphic, with nature as the main theme.

What is the best compliment you’re received so far for your artworks?

That my works communicate a very positive energy and an optimistic view of the world.

Has art acquired a more commercial nature with artworks being sold at exorbitant prices? Is it justified?

Art is a universal language and its aim is not commercial value. This makes it more interesting for people, but at the same time many see art as an “investment portfolio”, which is principally, in my mind the wrong approach. The “cultivated buyer”, never buys with the primary intention of reselling it, rather he buys because he knows what he buys and appreciates the “artistic value” of the work. I think the current situation will re-correct the crazy prices of the past years.

What do you think of art as investment as seen at auctions?

As I mentioned it before, the “art investment” in its current form, is a relatively new phenomenon. This despite the fact that in history, great artists have always been collected in a very similar way. The auctioning system is a new thing. This can be of great disadvantage for artists and arts in general. Changing the rates of the artists doesn’t always speak for artworks and the artists. Very often the investors don’t know how the art world works, its mechanics, actors and key players, therefore the risks are bigger considering how unpredictable the art market is.

What do you think about Dubai and the burgeoning art scene here?

I don’t know Dubai that well, but from what I’ve observed in some days, it’s full of positive energy, from the people and from the atmosphere. It seems that people want to see more and enjoy novelties. I have the feeling that the city is just waiting for one thing: the establishment of a cultural and contemporary art scene, with galleries such as Carbon 12, museums, artistic centers etc. This is the only positive evolution the city and the countries need, in my mind.

Thierry Feuz’s Microworlds and Macrovisions is on display at Carbon 12 gallery, Marina View Towers, Dubai Marina until March 31, 2009 (Fri closed).
For further information contact the gallery, +971 50 46 44 392.
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