Carole Feuerman

(b. 1945)

About The Artist

"My work tells stories. Sometimes they are stories I want to tell, and sometimes they are my stories from my life experiences. They are stories about balance, perseverance, survival."

A pioneering figure in the world of hyperrealist sculpture, Carole A. Feuerman has been capturing the intimate moments of modern women — at play and at peace — for nearly fifty years. Masterfully manipulating painted resin, vinyl, marble and patented bronze, Feuerman eloquently imbues her female subjects with agency and inner balance. They take full ownership of their identity and the shift from the traditional male gaze to a self-reflective female gaze is palpable — even as Feuerman cheekily references figurative sculpture’s male-dominated canon.

Early in her career, Feuerman challenged the status quo and began working with industrial, labor-intensive materials. She swiftly aligned herself with artists like Duane Hanson and John de Andrea, cementing her place in the Hyperrealism movement of the 1970s. As Feuerman herself put it, "My early hyper-realistic sculptures invite the audience to contemplate the intriguing dichotomy of reality in life and art."

Since 1980, Feuerman has used resin to make direct casts from live models, which she then paints, clothes and accessorizes with exacting detail to blur the lines of reality and artifice. Her 1981 signature series "Catalina" captures swimmers at the moment they emerge from the sea. "When a swimmer submerges into the water they escape the stresses of the outside world, and they emerge cleansed and invigorated," she says. "I tried to freeze that moment." The intimate individualism of her bathers further conveys themes of balance, perseverance and survival; the droplets of water perfectly rendered along her figures’ limbs underscore Feuerman’s celebration of healthy sensuality and sexual agency.

Following the swimmers, Feuerman started working with bronze and marble, eventually developing a process of melting metal and using the liquified ore as paint. This dynamic engagement with a new technique produced a more tactile, densely layered surface; a move away from the smooth illusionism that dominated her earlier work. Fragments of the female body take center stage for this period, and Feuerman’s interest in representing the torso as sole messenger is powerful. Moments of encounters between object and viewer are presented in frozen scenes of intimate individualism. Feuerman gives us space to reflect and engage with the personal power of her sculptures, and the opportunity to complete the narrative of a fleeting moment for ourselves.

 

References:
Boettger, Suzaan. “Figuring It Outward.” April 24, 2003. https://www.carolefeuerman.com/figuringitoutward

“Carole A. Feuerman.” artnet. http://www.artnet.com/artists/carole-a-feuerman/

“Carole A. Feuerman.” Sculptor Directory, International Sculpture Center.

De Con Cossio, Regina. “Going for a Dip: Carole A. Feuerman.” Sybaris. September 13, 2019. https://www.sybariscollection.com/going-for-a-dip-carole-a-feuerman/

Feuerman, Carole A. “The Patriarchy that Exists in the Art World.” Manhattan Arts International.  https://manhattanarts.com/carole-feuerman-leading-hyperrealist/

Spike, John T. “In the Swim: Carole Feuerman’s Sculptures Stay in Shape.” Art & Antiques. May 2005. https://www.carolefeuerman.com/in-the-swim

Yau, John. “States of Ecstasy and Self-Realization.” https://www.carolefeuerman.com/states-of-ecstasy-and-selfrealization-yau

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