Carole A. Feuerman's First Solo Show at Harbour City, Hong Kong

As an artist, Carole Feuerman is always breaking new ground and doesn’t settle for half measures. Her next show is proof of that, as she has been invited to China for her first solo show at Harbour City in Hong Kong!

The show, organized by Art in the City at Harbour City, opens on June 18^th and runs through July 5^th.  The sculptures will be on view daily from 10 am till 10pm. Harbour City is located on the spectacular Victoria Harbour, one of the busiest spots in Hong Kong, and right next to the famous Star Ferry terminal!

Artist Rendering

Harbour City selected six of Feuerman’s most exciting pieces to be installed alongside the harbor front. The sculptures will be exhibited in a swimming pool constructed specifically for Feuerman’s swimmers solo show. Water will be projected via laser technology to complete the elegant illusion. 

Exhibition Blue Print

Harbour City receives 222,000 visitors daily. It is a must visit destination for locals and tourists alike. All of Harbour’s events are free admission and non-commercial. They are striving to inject art into the community and act as a bridge between artists and the public.

Harbour City sought out Feuerman’s work because her Swimmers live forever in perpetual summer. Their presence will be a catalyst for people to relish the season and revel in the fact that summer is back! Choosing to exhibit Feuerman’s sculptures in heavily trafficked areas will encourage people to interact with the pieces and feel the warmth and excitement that they radiate.

Art in the City’s mission is to raise public awareness and promote art through media. They hope to educate the younger generation as well as the entire community about artistic expression through the experience of public exhibitions.

The Golden Mean, 2012. Bronze and 24K Gold Leaf. 150 x 54 x 38 inches.

Harbour City has held five mega public art and cultural exhibitions since 2007. Among them was Ms. Yayoi Kusama’s ebullient solo show: “Dots Obsession, Soul of Pumpkin” as well as Florentijn Hofman’s wildly successful “Rubber Duck”, which drew thousands of admirers along the Harbour front.

Rubber Duck, 2013.

Harbour City offers luxury shopping and dining experiences unlike any other in the world. It stretches for 2 million square feet running parallel with the glorious Victoria Harbour. Its “Star” Ferry pier was named one of the “50 Places of a Lifetime” by the National Geographic Traveller.

Harbour City has become a beacon of the arts. Art in the City has organized musical performances every weekend since 2001. They’ve also dedicated themselves to collecting art pieces from all over the world and exhibiting them throughout the complex.

As a premier destination for people seeking culture and creativity, Harbour City is endeavouring to be associated with the world’s most innovative and talented artists.

Monumental Brooke with Beach Ball, 2011. Oil on Resin. 45 x 60 x 43 inches.

Harbour City called on Feuerman to usher in heightened artistic interaction on a personal level for everyday viewers. Her sculptures are magnets for the eye and transformative for any public atmosphere.  

After the Hong Kong show, the sculptures will be exhibited in the Daejeon Museum of Art in South Korea, then travel to a museum in Seoul and on to Taiwan.

Monumental Quan, 2012. Oil on Bronze. 67 x 60 x 43 inches.

Recently back from Italy where her two new sculptures are being exhibited in the 2015 Venice Biennale by GAAF, Personal Structures, Feuerman is passionately enthusiastic about exhibiting in Hong Kong.  

Her sculptures will enhance the environment and leave an enduring legacy of joy and beauty in this magnificent public space.

Kendall Island, 2014. Oil on Resin. 70 x 21 x 38 inches. 

Carole Feuerman at Palazzo Mora 2015

The slightly, less insane way to navigate the 2015 Venice Biennale is via water taxi or vaporetto. Otherwise you’d break a world record for number of bridges crossed and number of events missed.

If you do manage to get a ride though, the squeeze is tighter than a NYC subway car at rush hour. As an art lover, there’s no choice, but to embrace being a sardine.

Seeing every aspect of the sprawling Biennale is quite impossible, but attendees strive to feast on as much of the mammoth artistic banquet as they can.

Everyone wants to be at the right place at the right time to discover ‘the piece of the moment.’ Well, her name happens to be Leda and she is residing at Palazzo Mora.

Leda and the Swan, 2014. Oil on Resin with 24K Gold Leaf and Swarovski Crystal. 42 x 80 x 90 inches.

During the Biennale the sign that read “Do Not Touch” on Leda and the Swan evidently translated to: “Please poke, kiss, and take a seat!” The swarming crowd immediately adopted Leda as their own family.

People literally could not resist touching the sculpture, especially the Swan! They needed to prove that it was in fact not inflatable and that they could not use it to float down the canal in style.

The enduring hypnotic effect of Carole’s hyper-realistic sculptures was strongly felt by every visitor. Carole’s sculptures have the resilient and distinctive quality of being mistaken for the real thing again and again.

At one point a gentleman with a camera seemed to be engaged in a staring contest with Leda. He seemed convinced that she’d slip a wink and he’d be the one to catch it. We here at the studio applaud his efforts, but Leda never loses! 

It was a multi-generational gathering at Palazzo Mora and Carole is always thrilled to see her work being enjoyed by an energized, diverse crowd. All who ventured in enjoyed live music and specially supplied JEIO Prosecco wine by Bisol!

DurgaMa, 2014. Painted Bronze. 101 x 90 x 91 inches. 

Palazzo translating to Palace is highly appropriate since the ascending beauty DurgaMa stands tall as a lovely sculpted sentinel at the entrance. 

The sculpture very much embodied the exhibit’s theme of existence as it represents the cycle of life and the blooming of the Lotus Flower, which signifies rebirth.

Carole was thrilled to participate in another magnificent Venice Biennale and offers her special thanks to the curators of Personal Structures:

Sarah Gold, Karlyn De Jongh, Valeria Romagnini, Rachele De Stefano,

Anna De Stefano, Jaspal Birdi, Lucia Pedrana and the one and only Rene Rietmeyer.