Over 50 works span five decades of hyperrealist sculpture in this powerful exhibition exploring presence, perception, and the quiet strength of the body

This summer, Rome becomes home to the body in its most intimate, vivid form. From July 4 to September 21, 2025, Palazzo Bonaparte hosts La Voce del Corpo, the first major European retrospective dedicated to American sculptor Carole A. Feuerman. With over 50 works on view, some dating back to the 1970s, others freshly completed, the show invites visitors into a visual conversation that blends realism with reverence, the physical with the emotional.

Feuerman is one of the pioneers of hyperrealism, and her work has long stood out for its technical brilliance and deep humanity. Her sculptures are lifelike to the point of illusion: sun-kissed swimmers with water droplets glistening on their skin, bodies at rest caught in mid-breath, expressions frozen in quiet contemplation.

Curated by Demetrio Paparoni and organized by Arthemisia in collaboration with the Feuerman Sculpture Foundation, the exhibition transforms the historic rooms of the palazzo into a serene yet emotionally charged environment. What makes this show so compelling is not just Feuerman’s master materials like resin, lacquer, metal, and crystal, but how she uses those materials to convey a deeper truth about the human condition.

Her sculptures, often centered around themes of water, femininity, and meditation, explore the body as more than a visual subject. In this exhibition, the body becomes a voice, hence the title, La Voce del Corpo. Through gestures, poses, and even stillness, Feuerman’s figures communicate a range of emotions: peace, endurance, vulnerability, and strength.

Carole A. Feuerman’s Sculptures Redefine the Art of Realism in Rome — Carole A. Feuerman, Reflections, 1985, Olio su resina, 191x53x53 cm Collection of The Arnold and Carol Wolowitz Foundation Photo: Courtesy of the Artist Studio

One of the highlights of the show is Grande Catalina (2007), a towering figure of a woman in a swim cap and bathing suit, eyes closed, lost in a moment of inner calm. It’s a piece that feels simultaneously monumental and deeply personal. Nearby, Pisces (2022), rendered in resin and adorned with shimmering crystals, captures the fluidity and fragility of the female form in a posture that radiates grace. And in Survival of Serena (2022), a reclining figure floats in suspended reflection, poised somewhere between reality and dream.

There’s a powerful sense of presence in each piece. Unlike classical sculpture, which often idealizes the body, Feuerman’s work embraces its individuality. Her figures have pores, creases, muscles, and moods. They are not goddesses, they are people. And in that realism, they become relatable. They become us.

What’s especially striking is how the exhibition unfolds like a quiet narrative. As you move from room to room, you’re not just observing sculpture, you’re participating in a silent dialogue. There’s no need for flashy spectacle here. The emotional weight of the work speaks for itself, making it one of those rare shows that lingers in your thoughts long after you leave.

Whether you’re an art enthusiast or simply curious, La Voce del Corpo is not a show to miss. It reminds us that art doesn’t always have to shout to be heard.