Katrin collects iron bars and tubes of leftover pieces and scrapyard junk. She lets her finds age in her drawers and workbench and when she considers them ready she starts to transform them into jewellery.

Andy Gut, 2015

Feulner's necklaces and brooches are made from a composition of found objects along with iron, steel and gems. As objects, they are robust and pliable, irregular and smooth, dark and luminous, tender and industrial. Feulner's love of fossicking at flea markets and in old barns, houses and garages was honed into a gleaner's eye at gold and silversmithing school. For many years in her hometown Pforzheim, a place known for its jewellery and watch-making and nicknamed the 'Golden City', at hard rubbish nights she would gather abandoned cooking pots or garden tools. Only the recent introduction of a fee to leave discards has reduced her curbside source of materials.

Dutch art historian Liesbeth den Besten writes about jewellery's 'jewelleryness'. In a similar vein, Feulner's attraction to metal could be described as its 'metalness'. At the bench she works without pre-planned sketches or models. It's a process of material connection and reconnection through sawing, pressing, soldering and then watching, listening and editing. Other metals and gems are brought into the conversation and over time the complete jewellery forms find their harmoniously discordant selves.

Kate Rhodes, 2019