The Swan by Carole Feuerman

by Kelsey Zalimeni

Feuerman is the only figurative artist to hyper-realistically paint bronze for use in outdoor public art and install these sculptures in the water.  She knows full well the ability of art to impact and enrich lives. Her commissioned works such as the Soledad and Robert Hurst Commission reflect her artistic integrity and willingness to share her gift with others outside of gallery and museum walls.  A private and special sculpture, the commission features Hurst's children on a large stainless steel swan.  This pair exude feelings of youthful joy and familial bonding.  

'The Swan'  2014- oil on bronze, stainless steel

'The Swan' 2014- oil on bronze, stainless steel

Even if the audience doesn't know the Hurst family, the same messages of childhood innocence and blissful simplicity still come across.  The piece is thus a beautiful symbol of familial values for all viewers to enjoy.

Since the piece has been installed, Hurst's doorbell hasn't stopped ringing by worried neighbors sighting his children sitting alone on his lake.

Monumental Quan, 2012 by Carole Feuerman

by Kelsey Zalimeni

An exploration of Carole Feuerman's oeuvre reveals topical threads throughout. While some pieces focus upon embodying one ideal at a time, others like Carole's 'Quan' series reflect multiple tenets simultaneously.  The featured sculpture here, 'Monumental Quan,' speaks through its scale, composition, and execution, to the primary values of its creator- grace, focus, and balance. 

Measuring 5 feet in height and roughly the same in width, 'Monumental Quan' manages to convey a delicate grace despite its voluminous presence.  The positioning of the figure assists with this aspect, displaying a swimmer poised permanently in a difficult physical maneuver. 

' Monumental Quan' ,     2012-      Oil & resin, stainless steel sculpture

'Monumental Quan', 2012-  Oil & resin, stainless steel sculpture

Power and control are implied well through the figure alone, but speak even louder in pairing with the chrome-finish orb upon which she balances.  The mirrored surface threatens distraction, as viewers catch glimpses of their likeness in the midst of their experience with the piece. However, the reflective ball serves a more clever purpose, for 'Monumental Quan' is in fact above the entire space she occupies- stationed perfectly on top of a mini-world comprised by her surrounding environment.  She is, in a sense, among and above the audience at the same time.