Carole A. Feuerman (born in 1945) is an American superrealist sculptor born in Hartford, Connecticut. In the late 1970s, she created thirteen sensual fragments, then expanded her work to include markedly realistic, life-size figures. Her most recent series, Tattooed Bodies, is inspired by personal life stories. She currently lives and works in New York. Feuerman has created public works for the city of Peekskill, New York, the city of Sunnyvale, California, and the Stavros Niarchos Foundation. Her sculptures belong to important private collections, including those of President Bill Clinton, the Frederick R. Weisman Foundation, Steven A. Cohen, Maluma, Andrea Bocelli, Alexandre Bartelle, and Forbes Magazine. Her most significant exhibitions include installations along Park Avenue in New York, the Heydar Aliyev Center in Baku, Azerbaijan (2026), the 2024 Paris Olympics, the Smithsonian Institution, and Palazzo Bonaparte in Rome. In 2011, she founded the Feuerman Sculpture Foundation.In recognition of her contribution to the arts, Feuerman has received numerous awards, including the Lifetime Achievement “Goddess Artemis” Award from the Euro-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. 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.