Artist: Carole Feuerman

September 16, 2016 in Artist Research

American artist and hyper-realistic sculptor.

Carole Feuerman is an American artist working in hyperrealism, a movement that began in the 1970s in relation to photorealist painting. She utilizes a variety of mediums including resin, marble, and bronze.

Torso:

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General’s Twin, 2009 – 201, oil on resin, 61 x 38 x 20,5 cm

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Balance Bust

Face:

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Capri with Cap, 2011, Oil and Resin, 30 x 20 x 11″

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Catalina, 1981, Resin and Oil, 32 x 15 x 7 inches

Close-Up:

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Feuerman Innertube II, 1989

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Full Body:

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Kendall Island, 2014, Oil on Resin, 70 x 21 x 39 inches

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Balance, 2013, Oil on Bronze, 32 x 26 x 17 inches

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Nudity:

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Tree, 2013, Oil on Resin, 62 x 37 x 29 inches

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Embrace, 1991 / 201, oil and resin, inch 36 x 20 x 5

Carole A. Feuerman is recognized as a pioneering figure in the world of hyperrealist sculpture, which emerged around 1970 in relation to photorealist painting. Together with Duane Hanson and John De Andrea, her contemporaries, she was one of the three leaders that started the movement by making life like sculptures that portray their models precisely.  While Hanson used uniforms and props to achieve a Pop Art irony, and De Andrea continues to explore the love relationships of men and women, Feuerman’s sculptures have always visualized a natural beauty and a sense of inner peace. Dubbed ‘the reigning doyenne of super-realism’ by art historian John Spike, Feuerman has solidified her place in the rhetoric of art history. Feuerman’s prolific career has spanned over four decades.

http://www.artslant.com/sp/artists/rackroom/40444-carole-feuerman

Since the 70s she has worked on a series of bathers and swimmers, molding seemingly perfect human forms from bronze, resin, and steel. Beautiful girls doze on colorful beach balls. Strong men lunge out of the wall towards invisible finish lines. In each of her pieces she brings an incredibly acute attention to detail, spending years on a single piece. She also thinks big, with many of her pieces towering above her small frame (she recently unveiled a “miniature” of one of her pieces that is about as tall as she is). Indeed, not just in size, Feuerman is known to break the mold and push sculpture beyond its limits. She’s known for a new technique she calls “painting with fire,” in which she sprays molten metals onto her molds.

The results are extraordinary; they are charming and playful. But one can also sense something much deeper going on in her work. Perhaps in the expressions of her subjects or the form of their bodies, it becomes clear there are more accurate adjectives for her subjects: balanced, determined, purposeful. Indeed, in her active sculptures, she captures that part of the human spirit that drives us to persevere beyond our apparent limitations.

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The Golden Mean

Interview:

MN: Your latest piece, called the Golden Mean, references the mathematical ratio for perfect balance and beauty. We see that a lot in your work, this tendency towards perfection. Do you think your subjects are perfect?

CF: No. Nobody is perfect. I don’t even think my art is perfect. With the golden mean, which is my latest piece, if he leans too far over, he’s going to fall, so that’s why you should strive to accomplish –  that little bit more –  but you have to hold onto yourself.

  •  Carole, 50, spends a gruelling six months on the waxworks, with her hyper-realistic sculptures selling for as much as £250,000 each.
  • ‘When designing a piece, I rarely base a sculpture purely on one person – most of my work will use the face of one model, the body of another and the arms and hands of a third. ‘I have sculptures that have been made up of body parts of five or six different people.’
  • Carole creates the amazing works by creating a mould, and making a resin cast out of liquid polyester, before using very fine sandpaper to refine the piece and to give the sculpture its lifelike skin. She then spends weeks spraying hundreds of layers of skin-toned paint to the piece, attaching real human hair to finally bring it to life
  • ‘But the aim of my art is not just to make a realistic looking model – I am not trying to do what Madame Tussauds do and simply recreate life-like representations.

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