Carole A. Feuerman. The Voice of the Body: the first major retrospective in Rome, Italy
Rome is preparing to experience a summer of intense wonder. From July 4th to September 21st, 2025, Palazzo Bonaparte, in Rome, Italy, will host 'Carole A. Feuerman. The Voice of the Body, the first major retrospective in Italy dedicated to the American artist who has masterfully transformed sculpture into an emotional and universal language.
LEFT: Carole A. Feuerman, Audition, 1981, Olio su resina, 20x23x25 cm, Collection of the Artist. Photo: Courtesy of the Artist Studio; RIGHT: Carole A. Feuerman, Survival of Serena, 2022 (dettaglio), Lacca su resina epossidica con cristalli, 97x213x81cm, Collection of the ArtistPhoto: David Brow
Over fifty works — including sculptures, drawings, photographs, and a site-specific installation created especially for the spaces of Palazzo Bonaparte — tell the story of an artistic journey spanning more than five decades. From her early experiments in the 1970s to her most recent works, each stage reveals the continuous evolution of a practice that has become ritual, investigation, and narrative.
Feuerman’s sculptures do not simply imitate reality: they transcend it, shake it, and reveal it. A drop of water sliding down the skin, a gaze suspended between introspection and challenge, the curve of a body captured at its most vulnerable moment — each detail becomes a word in a silent yet powerful language, a "silent cry" that vibrates beyond the surface.
Her Artistic Journey
Carole A. Feuerman (b. 1945, Hartford, Connecticut) is one of the world’s leading pioneers of hyperrealist sculpture. With a career spanning over five decades, she lives and works in New York. Feuerman began her artistic journey in the late 1960s, creating 3D illustrations for magazine and album covers, collaborating with iconic rock stars such as the Rolling Stones and Alice Cooper. In 1975, she made her first life cast sculpture for the cover of National Lampoon magazine, marking a turning point in her practice.
LEFT: Carole A. Feuerman. The Girl You Thought You Were Holding, 1981, Vinile patinato, 48x37x9 cm. Collection of the ArtistPhoto: David Brow; RIGHT: Carole A. Feuerman, Texas, 1981Olio su resina, 66x53x25 cm. Collection of the Artist. Photo: Courtesy of the Artist Studio
In the mid-1970s, she started creating sensual and fragmented body sculptures, exploring themes of identity, vulnerability, and transformation. Influenced by postmodern thought, she gradually moved away from fragmentary forms to develop full-figure hyperrealistic sculptures, often depicting swimmers, bathers, and athletes in moments of quiet introspection and suspended motion.
Feuerman works with a variety of materials, including resin, bronze, stainless steel, and silicone, achieving a level of realism that invites viewers to experience the physical and emotional presence of her figures. In 2011, she founded the Carole A. Feuerman Sculpture Foundation to support underrepresented artists through exhibitions, residencies, educational scholarships, and archival projects.
LEFT: Carole A. Feuerman, Pisces, 2022, Lacca su resina epossidica con cristalli, 122x84x102 cm, Collection of the Artist. Photo: Courtesy of the Artist Studio; RIGHT: Carole A. Feuerman, A Mask, 1981, Vinile patinato, 18x12x8 cm, Collection of the Artist. Photo: David Brown
Her sculptures are included in prestigious museum collections worldwide and have been exhibited in major institutions and public spaces, including the Smithsonian Institution in Washington, D.C., the Venice Biennale, and the Palazzo Strozzi in Florence. Recent monumental donations include two large-scale works to help establish a sculpture park at the Medici Museum of Art in Warren, Ohio
Curatorship
Curated by Demetrio Paparoni, the exhibition explores the body as an archive of experiences, memory, and desire. "For Feuerman," Paparoni emphasizes, "the body has a voice: it tells stories, expresses inner states, comments on society, and reveals both the fragility and the power of the human condition. It is a body that feels, and that makes us feel."
Alongside the celebrated body fragments from her early career, the exhibition features life-size figures and tattooed bodies that embody a new vision of identity and transformation. The skin, treated with an almost obsessive mastery, becomes a map of meanings — a space of tensions and endless narrative possibilities.
LEFT: Carole A. Feuerman. Eros 1AP with Tattoo, 2009. Lacca su resina epossidica, 48x53x18 cm. Collection of the Artist. Photo: Richie Nuzz; RIGHT: Carole A. Feuerman, Sofia with Tattoo, 2025, Lacca su resina epossidica con capelli e cuoio, 71x41x20 cm. Collection of the Artist. Photo: David Brown
In a world that so often invites us to filter and hide, Feuerman challenges us to look — and to truly see ourselves — with radical honesty. Her figures are not mere representations but pulsating presences that question us, welcome us, and lay us bare.
An immersive experience between emotion and reflection
“The Voice of the Body” is an immersive journey that explores the sensitivity and strength of the human form. It is an invitation to discover how hyperrealism can become poetry, how sculpture can transcend the coldness of matter to become a caress, a breath, a heartbeat.
As Iole Siena, President of Arthemisia, reminds us: "It is an honor for us to host Carole Feuerman's first major European exhibition — an incredible and profoundly moving artist. Palazzo Bonaparte has now become a landmark for contemporary art in Italy, and this exhibition marks an important milestone in this journey."
LEFT: Carole A. Feuerman. Mona Lisa, 2019. Lacca su resina epossidica, 94x107x168 cm. Collection of the Artist. Photo: Courtesy of the Artist Studio; RIGHT: Carole A. Feuerman. Grande Catalina, 2007. Olio su resina, 158x96x44 cm. Collection of the Artist. Photo: Courtesy of the Artist Studio
The exhibition is produced and organized by Arthemisia together with the Feuerman Sculpture Foundation, with important international sponsors such as The Medici Museum of Art in Warren (Ohio), Kai Feuerman (New York), the Carol and Arnold Wolowitz 5.5 Foundation, Karin and Peter McKinnell Leidel, as well as the partnership of Frecciarossa Official Train and Ferrari Trento.
This Roman retrospective marks only the beginning of a worldwide journey: after Rome, Feuerman’s works will travel to the Michigan Avenue Public Outdoor Exhibition in Chicago and to the Heydar Aliyev Center in Baku.
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