Carole A. Feuerman (1945) is an American superrealist sculptor born in Hartford, Connecticut. She currently lives and works in New York. She began her sculpting career in the 1970s by making drawings and fragmented wall sculptures. She continued to make fragments until the early 2000s when she started sculpting the entire figure. She is best known for her swimmers, creating both indoor and outdoor works. 

Selected exhibitions include The Seaport, Park Ave and Central Park in New York, Palazzo Boneparte in Rome, the Smithsonian Institution's, National Portrait Gallery in Washington D.C., the State Hermitage Museum in St. Petersburg, and the Palazzo Strozzi in Florence. Her sculptures are in the permanent collections of thirty-four museums, and owned by the cities of Sunnyvale, CA, and Peekskill, NY. Feuerman’s works are in the private collections of Steven A. Cohen, Former President Clinton, Dr. Henry Kissinger, and Malcolm Forbes, among others. She has taught, lectured, and given workshops at the Guggenheim Museum and the Metropolitan Museum.

In recognition of her contributions to the arts, Feuerman is the recipient of the 2026 The Lifetime Achievement Award from the International Sculpture Center (ISC.), The Woman of Inspiration award from the Universal Woman’s Network,  the Lifetime Achievement 'Goddess Artemis' Award from the European American Women's Council (EAWC), First Prize at the Huan Tai Hu Museum in Changzhou, China, Best in Show in Beijing, China, the Amelia Peabody Award, First Prize at the Beijing Biennale, and the Medici Award in Florence, Italy.

In 2011, She founded the Feuerman Sculpture Foundation.

Artist Statement:

For decades, I have sculpted figures that seem to breathe—their wet skin, glistening water, and serene expressions invite a closeness that dissolves the boundary between artifice and life. What began as a form of linguistic experimentation in the late 1970s has evolved technically toward the exploration of technical mastery, and theoretically toward meditation on visibility, resilience, and transcendence. My figures inhabit the space between the physical and the psychological. Whether immersed in the bath, floating, or in quiet contemplation, my bathers reflect our search for balance in a world of constant exposure. Water, a recurring element in my work, is both purifying and veiling—a metaphor for renewal, identity, and the stories we carry within our bodies.

My new tattooed works also highlight how people with different identities and cultures ideally coexist. These interventions reconceptualize the body as a site of narration and power: the surface becomes a palimpsest where personal myth and collective history meet. Through this lens, my practice engages with themes of embodiment, gender, and spirituality, repositioning the hyperreal not as illusion but as revelation.