Working on industrial silk-screens, an extremely unconventional material, Fekner executes a series of vibrantly spray painted large-scale works.
In 1979, Fekner’s stencil work begins to appear outdoors in Sweden and continues in Germany, England and Canada.
Fekner’s first environmental stencil project in 1977 entitled A Tribute To The Green Grass That Valiantly Grows Through This Asphalt is painted at Gorman Park.
The Remains of Industry is painted at the abandoned Trunz Meat Factory in Greenpoint, Brooklyn with assistance from two brothers who were squatting in the building.
The NO TV/Read stencil project is Fekner’s first project in which he creates multiple versions in other media including video, music, painting and performance.
In the 80s, manifestations of toxicity was rampant not only by the poisoning of the planet by deliberate and careless dumping, but by those who chose a complete disregard for one’s existence with the recreational use of hard drugs. Toxic Junkie was spray painted on a well-used drug den on 2nd Street between Avenues B & C in conjunction with The Black and White Show at Kenkeleba Gallery, Lorraine O’Grady, Curator.
Invited by curators at contemporary art institutions and museums, Fekner installs temporary site-specific installations with sound and video components in one person and group exhibition settings.
In 1981, Fekner began using stylized stencils of leaping deer that were painted outdoor as well as indoor installations.
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Fekner appropriates the front and back of billboards and highways signs as ‘alternative billboards’ with his subliminal messages.