Carole A. Feuerman ( (b. 1945, New York) is an internationally recognized American superrealist sculptor, renowned for her iconic swimmer sculptures, including "Innertube" and "The Golden Mean." Her work encompasses both indoor and outdoor installations.

Feuerman began her sculpting career in the 1970s, initially focusing on drawings and fragmented wall sculptures. By the early 2000s, she had evolved her craft to sculpt entire figures. Her art has been exhibited in major galleries and institutions worldwide, including Park Avenue and Central Park in New York, Palazzo Bonaparte in Rome, the Smithsonian Institution’s National Portrait Gallery in Washington, D.C., the State Hermitage Museum in St. Petersburg, and Palazzo Strozzi in Florence. Her sculptures are part of the permanent collections of thirty-four museums and are owned by the cities of Sunnyvale, CA, and Peekskill, NY. Notable private collectors of her work include Steven A. Cohen, former President Bill Clinton, Dr. Henry Kissinger, and Malcolm Forbes, among others. Feuerman has also taught, lectured, and led workshops at prestigious institutions such as the Guggenheim Museum and the Metropolitan Museum of Art.

In recognition of her significant contributions to the arts, she has received numerous accolades, including the 2026 Lifetime Achievement Award from the International Sculpture Center (ISC), the World of Peace Award for Lifetime Achievement in the Arts by the City of Athens and the Le Soleil Foundation in Greece, 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), and first prize at the Huan Tai Hu Museum in Changzhou, China. She has also earned Best in Show at the Beijing Biennale, the Amelia Peabody Award, and the Medici Award in Florence, Italy. In 2011, she founded the Feuerman Sculpture Foundation.

Feuerman currently resides and works in New York.

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.