These drawings from the 1970s mark the beginning of Carole Feuerman’s sustained exploration of the human figure, created at a moment when observation, discipline, and emotional inquiry converged. Alongside her intimate studies of the body, Feuerman was also working as a professional illustrator, producing drawings for publications including The New York Times. This dual practice sharpened her ability to move between expressive figuration and communicative clarity. Whether addressing the human form or responding to editorial context, drawing became her primary language for understanding structure, presence, and meaning. Each line is deliberate, revealing an artist deeply engaged in the act of seeing—seeking not only anatomical accuracy, but the inner life of the subject.
Presented alongside these works are three sculptures that extend this investigation into three dimensions. Among them is a striking self-portrait: a superrealist depiction of the artist in the act of painting, mounted directly to the wall. This work collapses the distance between subject and maker, offering a rare moment in which the artist becomes both observer and observed. In dialogue with the drawings, the sculptures reveal a continuous thread—an enduring pursuit of stillness, presence, and psychological depth—while underscoring how Feuerman’s early commitment to line ultimately evolved into a fully realized sculptural language.
