Feuerstein produced 72 bottle objects for his various molecular sculptures, that make up the work Genius in the Bottle (2005–2010). Graphics in enamel and on mirror glass interweave the processes with a conceptual narrative that continues in sculptures and canvas paintings depicting cartographic landscapes and metabolic primordial soups.

The labels of the bottles entangle us in stories and tell of elixirs and essences in which genies dwell. As enzymes and catalysts, they wait to take effect in us, to imagine thoughts and images, to start actions and neuronal programmes and to change realities. If the word was at the beginning, the spirit of the bottle is at the end, triggering new speech acts sip by sip to feed the machine of art.

For Thomas Feuerstein, the linguistic constitution of art becomes the output of his art, which materially binds distillates of language and mixes them with biological and social processes of life. In Feuerstein’s work, language leads beyond communication and memory to a hypostatic transformation that transforms the breath of words into molecular sculptures. Speaking about art becomes the material of const, which is returned as a spirit to the physical metabolism of the speaking bodies.