While studying at the School of Visual Arts, Feuerman supported herself through drawing and illustration commissions, developing a remarkable professional career alongside her fine art practice. During this period, she created illustrations and paintings for major publications and television networks, including The New York Times, ABC, and NBC, while also producing more than fifteen album covers. Among them were works for Alice Cooper and The Rolling Stones, whose imagery was later used in their tour books. Presented alongside these drawings are three sculptures that extend this investigation into the medium of sculpture. Among them is a striking self-portrait: a super-realist depiction of the artist in the act of painting a sculpture of a tattooed bicycle leg. 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 realised sculptural language.
Seen today, these early drawings feel remarkably contemporary. They reflect a fearless investigation of intimacy, femininity, and self-definition during a period of profound social change, while also foreshadowing the sculptural language that would later define her career. | 
