My work examines connections between landscapes, spirits, objects, histories, origins, futures, mines, synthetic materials, landfills, cancer wards and unknown ancestral lineages.  I employ cultural signifiers specific to my upbringing in a working class Jewish household on Cree, Dakota, Dene and Ojibway land- like a hockey rink, a zamboni, or a sled.  I seek to create a visual language that examines the intersections of colonization, resource extraction, spiritlessness and northern climates. Through sculptural form, I create mythologies that explore notions of eco feminism, internalized sexism, internalized fat phobia and internalized anti semitism. I interrogate the concept of “motherhood” in the Anthropocene and seek to collaborate and find guidance from my Jewish Ashkenazi Ancestors. I create characters and tell stories that examine synthetic materials as the embodiment of trauma and consider the interconnectedness between all human and non human entities, oozing through time and drifting between locations. 

My research driven practice has led me into the strip mines of the Alberta Tar Sands, long forgotten coal mines in the Arctic Circle, The disappearing Biloxi Chitimachaw land on The Gulf Coast,  a Jewel Vault beneath the federal bank of Tehran, The Suez Canal, a checkpoint in Bethlehem and an abandoned greenhouse in Los Angeles used for smog and air pollution research in the 1960s. 

“Perhaps the greatest appeal of Feuer’s work is its complete lack of cynicism, even in those cases where it is inspired by tear gas, polluted oceans or other dangerous scenarios. The artist’s biography indicates someone who has often been in contact with deep human suffering, yet the resulting art is not shrill or moralistic. Instead, one gets the sense of a balanced observer whose first reaction to disaster is transfiguration rather than the teaching of prosaic lessons.”

Graham Harman
distinguished University Professor at the American University in Cairo