Red Still Life reflects Feiler's surviving interest in painterly abstraction despite his over 40 year occupation with spatial exploration. This work, produced a year after his move to Cornwall that coincided with Feiler's geometric interests, presents the overlap between these two techniques.

Red Still Life can be understood alongside his perspectival experiments. The rejection of linear perspective embodies Feiler's ability to play with space and the surrounding environment through colour as well as geometry. Feiler's knowledge of the abstractive qualities of paint is elucidated by his use of strong red and blue pigments that respectively force the lower half of the canvas forward whilst endowing the upper half with a recessive quality; Feiler exploits the respective effects of red and blue paint in the viewer's eye. Red Still Life is a unique example of Feiler's fascination with space beyond his interest in linear perspective.

Feiler’s vision was based on the understanding that ‘you stand vertically and you look horizontally’; through this he aimed to fulfill Cézanne’s requirement that ‘a picture should give us… an abyss in which the eye is lost.’