April 11, 2025 – October 13, 2025
Reshaped Reality: 50 Years of Hyperrealistic Sculpture
Carole A. Feuerman in an International Survey of the Hyperrealist Body
Carole A. Feuerman in an International Survey of the Hyperrealist Body
Reshaped Reality: 50 Years of Hyperrealistic Sculpture brought a major international survey of figurative realism to Japan for the first time. Presented at Osaka Culturarium, Tempozan, the exhibition traced the evolution of hyperrealistic sculpture from the 1960s to the present, examining how lifelike bodies, altered scale and visual illusion challenge our understanding of what it means to be human.
Carole A. Feuerman was represented by Catalina and General’s Twin, two works that demonstrate her distinctive ability to transform physical realism into an experience of stillness, resilience and in
The Human Body Between Reality and Illusion
Since the emergence of hyperrealistic sculpture in the 1960s, artists have used the recognizable human body to test the limits of perception. Rather than presenting realism as technical imitation alone, Reshaped Reality explored how a sculpture can appear familiar and unsettling at the same time.
Across the exhibition, bodies were rendered life-size, monumental, fragmented, transformed or suspended in moments of psychological intensity. These varied approaches invited viewers to question where physical resemblance ends and emotional or symbolic meaning begins.
Presented during Expo 2025 Osaka, the exhibition connected these questions to a wider reflection on life, identity and the future of humanity. The survey brought together Carole A. Feuerman with artists including Duane Hanson, John De Andrea, Ron Mueck, Patricia Piccinini, Evan Penny, Maurizio Cattelan and others whose work has shaped the international history of hyperrealistic sculpture.
Carole A. Feuerman: Stillness and Inner Balance
Within this broader survey, Feuerman’s sculptures offered a quieter and more introspective form of hyperrealism. Catalina and General’s Twin depict swimmers whose closed eyes and resting bodies suggest a moment suspended between physical exertion and emotional recovery.
Their carefully constructed surfaces, swimwear and water droplets create an immediate illusion of living skin. Yet the realism serves a deeper purpose. Feuerman’s figures often appear withdrawn into a private interior space, expressing balance, resilience and the restorative relationship between the body and water.
Displayed within the Tadao Ando-designed Osaka Culturarium, the works entered into a powerful dialogue with the architecture and with the bodies of visitors moving around them. Their presence was convincing not only because of their physical precision, but because of the emotional stillness they carried into the exhibition.
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