His
work, from early
minimal objects to
increasingly expansive and complex forms, has always dealt with such central issues of the sculptural tradition as size and scale, balance and imbalance, figuration and abstraction.
Hard Edge Line Painting, 1963 seems an elegant and
minimal take on the knee joint of a leg, and indeed, most, if not all of Feitelson's
work, grew out of an
increasingly reductive view of the human body, a view of the body in the oldest sense, a matter of pure form and crisp ideals.