Just In: Carole Feuerman’s Lady Neptune
I like to think of my works as larger than life—gods and goddesses of the Everyday.” —Carole Feuerman
To represent the female body is one thing; to represent the female state of mind is something entirely different. Carole Feuerman accomplishes both, breaking away from tradition with sculptures that accommodate the self-reflective female gaze. Feuerman grants her sculptures ownership of their sensuality and inner strength, alluding to a narrative rooted in feminism but never fully disclosed.
The atmosphere of mystery, anticipation, and self-confidence surrounding Feuerman’s meticulously crafted women has much to do with the artist’s knowledge of art history and mythology. She seamlessly weaves together a story of layered histories, reminding the viewer of how the past always informs present reality. According to Feuerman, “The ultimate goal is knowing that we are all connected one way or another. From the pairing of the tiny molecules to the ripening of our beings into a natal [form], there is a mysterious power of the creative that animates our lives from the beginning to the end.” Feuerman’s interest in Classicism and idealized forms is clearly projected onto the poses of her hyper realistic women.
In Lady Neptune, the traditional pose of the female bather is reimagined through an unfiltered lens. Feuerman captures a fleeting moment of meditative activity: the self-care and contemplative pause of a woman who has just finished bathing. The uncanny realism of the beads of water are both familiar and exotic, illusionistic droplets of water connecting to the myth of Venus, Goddess of love and beauty, born from the sea. Rejuvenation and a sense of harmony, both internal and external, are on full display. As art writer Richard Friswel puts it, “The syncretic link is the artist’s realization of the intense physicality, passion and sensuality found in her figures’ otherwise mundane poses.” Thus a pose historically aligned with purification, renewal, and fertility is reimagined for the 21st century as an observation of an intimate, everyday gesture.
Cassidy, Benjamin. “Swimmers find land in Carole Feuerman’s works of hyperrealism.” Manchester Journal. July 20, 2018.
Feuerman, Carole. “Feuerman Exhibiting Two Monumental Painted Bronzes Palazzo Mora Nearing the End.” November 12, 2015. https://www.carolefeuerman.com/blog/tag/Leda+and+the+Swan
Friswell, Richard. “Fleeting Moments, Universal Truths: Discovering the Gods and Goddesses of the Everyday.” https://www.carolefeuerman.com/friswell
Mixed-media and oil on resin
49″ x 21″ x 32″; (124 x 53 x 81cm)
Together with books From Studio to Foundry: Three Decades of Sculpture by Carole A. Feuerman (2000) and Carole A. Feuerman: Sculpture (1999)
Literature: Carole A. Feuerman: Sculpture. D. Merriam and E. Munro. 1999. 76-79.
July 30 – August 9, 2020 Modern Art & Design Timed Online Only Auction