Carole A. Feuerman – Painting with fire and passion


Die New Yorker Künstlerin präsentiert als weltbekannte Bildhauerin hyper-reale Skulpturen aus Gießharz, Marmor und Bronze. Mit geschmolzenem Metall hat sie in der Bildhauerei eine einzigartige Methode entwickelt, die sie als “Painting with Fire” bezeichnet. Seit ca. 40 Jahren atmet sie ihren beeindruckenden künstlerischen Werken Leben ein.

In Ihren Skulpturen definiert sie “condicio humana”, die Bedingung des Menschseins und die der Natur des Menschen in künstlerischer Form neu. Studiert hat sie an der “School of Visual Arts” an der Hofstra University und beschäftigt sich mit sculpture, installation art, painting, drawing und video art.

Ihre Werke finden sich in vielen öffentlichen und privaten Sammlungen auf der ganzen Welt und sie ist national und international in vielen Galerien vertreten. Ihre Kunstwerke wurden u. a. Metropolitan Museum of Art in New York, der Staatlichen Eremitage in St. Petersburg, Russland und dem Palazzo Strozzi in Florenz, Italien präsentiert.


Zu ihren Kunden zählen Bill Clinton, Hillary Rodham Clinton, Mikhail Gorbachev und Malcolm Forbes, Henry Kissinger etc..

So lässt sie echt wirkende, lebens- oder monumentalgroße bzw. auch Miniatur-Werke entstehen. Ihre künstlerische Handschrift zeigt sich auch in der Präzision, im Detailreichtum, mit Hunderten von Schichten erreicht sie diese einzigartige hyperrealistische Perfektion, in jedem einzelnen Detail, sei es bei der Hautstruktur, den Haaren, den Augen, in jeder Hautfalte, bei jedem Wassertropfen. Durch ihre mit Liebe und Leidenschaft handgefertigen Kunstobjekte vermittelt sie die wahrgenommene Vorstellung von Realität.



Elle:
When did you become an artist? Why are you so passionate about sculpture?

Carole A. Feuerman:

I knew I wanted to be an artist at three years old when I used shoe polish as my paint and my mother’s white linoleum kitchen floor as my canvas. I graduated from the School of Visual Arts and began my career as an illustrator before pursuing sculpture. I am passionate about the medium of hyper-real sculpture for its ability to resonate with people on a personal level.

I want my art to engage and inspire the viewer to look closely at what stands before them. It is not the fleeting moment that I want to capture, but the universal feeling caught in that fleeting moment.



Elle:
Did your upbringing influence your work? Are there other members of your family who are artists?

Carole A. Feuerman:

My parents were always skeptical of my study of art: When I was in college, they wanted to know when I would get “a real job”. Their skepticism did however pushed me to follow my passion and listen to my intuition.

My niece Amanda Ackerman is an artist as is my aunt Marilyn Weiss. Both women do not practice art for a living.



Elle:
When did you make your first sculpture?

Carole A. Feuerman:

When I was in fifth grade I made a miniature sculpture of a male and female intertwined out of clay. I fired it and then painted it. I still have it to this day.



Elle:
How do you see people interacting with your sculptures?

Carole A. Feuerman:

I have seen people posing for pictures with my pieces and even kissing the sculptures. It is very rewarding because I love watching how people respond to my work.




Elle:
How different is it to create work for outdoors as opposed to a gallery space?

Carole A. Feuerman:

With public work, you are able to reach a broader audience that might otherwise be absent from a gallery or museum. I want the everyday person to relate and engage with my work. Public work allows me to do just that. Whether it’s an oversized female on an innertube in the middle of the heavily trafficked streets of Manhattan or amonumental male diver on the riverfront of Peekskill, I want my sculptures to activate the urban landscape, offering moments of recluse for the general public in the midst of their days.



Elle:
You are widely known for your hyper realistic style. How did you arrive at this style?

Carole A. Feuerman:

Physicality is a huge part of my work. The hyper realistic style of my art is what creates the physicality for which my sculptures are known. The realism in my art stems from my desire to portray real emotions and physical states of being—from peaceful serenity to energy, equilibrium and vigour.

I make my sculptures about people who are comfortable in their own skin. I promote the idea of total health. The World HealthOrganization stated in 1970, the decade in which I began making my sculptures, that health embraced a total package of ‘physical, mental, and social well being, not merely the absence of disease or infirmity’. A sound mind in a sound body, in other words. This is one of the defining aspects of my realistic style. Forty years ago, showing healthy, intelligent women was a radical departure in contemporary art. Now it is a widely accepted ideal, yet most contemporary artists don’t explore this topic—at least not in figurative art. My realistic style allows me to present a universal moment to which every viewer can relate. I explore emotionaldimensions where the sculpture depicts, not just one frozen second, but an infinite and universally state of being. Underlying the realistic daily activities depicted in my sculptures are common threads of experience that connect us to one another.



Elle:
What are you working on now? What are your plans for the future?

Carole A. Feuerman:

My newest works will be collectively on view for the first time during a spring solo exhibition at Jim Kempner Fine Art. The exhibition will include “The Golden Mean” in the gallery’s sculpture garden, “Quan”, “Infinity” and many others. My life-size work “The General’s Daughter” was recently chosen by the Smithsonian and will be exhibited at the National Portrait Gallery in Washington, DC from March 23, 2013 through February 23, 2014, which I am very excited about. During summer 2013, I will be returning to the Venice Biennale to showcase my latest monumental works at the entrance of the biennale with the Concilio Europeo dell’Arte and with an additional exhibition at the historic Palazzo Bembo with the GlobalArtAffairs Foundation. I am working more and more on outdoor and public sculptures.

Website
Fanpage

Share and Enjoy

Pinterest
All images in coultique.com are copyright restricted for coultique,
the artist or label. No reuse of images without express permission.

Ein Kommentar

  • Abramovich Patricia am 20.10.2012 um 18:43 Uhr:

    Dear Carole
    I think your art is incredible in its beauty.
    Your sculptures looks like living persons.
    Amazing sculptures!!!

    Thank you

Trackbacks


Leave a Comment


Name*
E-Mail*
Website

* Diese sind Pflichtfelder und müssen ausgefüllt werden. Die E-Mail Adresse wird nicht veröffentlicht!