Roger Reutimann and the soul of sculpture

Roger Reutimann, a Boulder-based sculptor whose work is mostly figurative nudes, knows a thing or two about the human form.

In addition to being well versed in anatomy, he’s adept at translating his knowledge of muscles and bones into gorgeous works of art. But, each piece is more than just a pretty face – or body – as the case may be. “It’s tricky to incorporate into a sculpture what you want it to say,” he explained. “It needs to be more than aesthetically pleasing; it also needs a soul. It’s like dating. The external wears off, and the meaning, message and concept become more important.”

Reutimann, who was born in Switzerland in 1961, has been interested in all forms of artistic expression since his childhood. He began playing the piano at the age of five and competed as a classical concert pianist during his teenage years. He always loved to draw and paint, and he dreamt of becoming an artist. Yet when he mentioned the idea to his parents, they were completely against it. So, it wasn’t until 2007 that Reutimann took his dream seriously and made the decision to become a professional sculptor.

“I took a sculpting class, and, within the first 30 minutes, I loved it so much that I gave up painting all together,” he said. “Paintings are fragile, but sculpture will last forever. I was successful two years into it, but it was very tough. It took a lot of promotional work.”

While Reutimann works with bronze, stainless steel and aluminum, his favorite medium is fiberglass.

“It’s a contemporary material, and I love working with it,” he said. “The process of making bronze takes a lot of steps, and there is some distortion of the original during the wax and metal stages. With fiberglass, you get a precise reproduction of the original. Also, with bronze, you apply a patina that is created through a chemical reaction to the metal. It’s very traditional. As a contemporary artist, I want to separate myself from tradition by using a patina that’s not so traditional.”

When Reutimann saw two cars with impeccable finishes, he discovered that contemporary patina to be automotive paint. He now creates flawless finishes for his sculptures with layers of auto paint and a final coat of clear lacquer. “The end result is like a piece of jewelry,” he said.
Reutimann, who is well versed in anatomy, finds that using a model is essential to his work. One of his favorites to work with is Joshua Marable, a model represented by Wilhelmina Denver, has a body that’s ideal for Reutimann’s sculptures. That’s because he has plenty of muscle definition but also lots of visible bone structure, said the artist.

“My second model is my partner, Jon Kolaska, who has an equally great body,” Reutimann added. “The advantage of working with my partner is that I’m very comfortable with him. You have to develop trust and confidence, because it can be awkward if you don’t know each other well.”

Reutimann will also use more than one model for his sculptures to get the perfect finished piece. For example, his sculpture called “The Death of Venus,” which is modeled after “The Birth of Venus” by Botticelli, needed some voluptuous attributes. So, in addition to using a ballet dancer as a model, he also had a curvaceous model occasionally sit in.

Much of Reutimann’s inspiration comes from observing society and human nature, in what he describes as a “social critical context.” For example, a sculpture called “Paradox of Power” features a man’s headless torso and hands clasped overhead. “It’s an expression of how you can’t really possess power, but how power possesses you,” Reutimann explained. “His hands are tied together, almost handcuffed.”

In yet another sculpture, “Dating Game,” Reutimann explores the playful seriousness of dating. The male and female figures stand back-to-back in a classic dueling position, representing the moment that exists between love and pain.

In addition to social contexts, Reutimann also works with religious subjects because the stories are interesting and widely known. Two such examples are sculptures “Adam” and “Eve.” Reutimann explained that both are missing their heads and feet as a way to symbolize imperfect or incomplete human beings. Another sculpture, “Celebrity Worship Syndrome,” ties social context and religious symbolism together. This portrait of Angelina Jolie in stainless steel serves as a contemporary symbol of public veneration. The head is displayed above eye level, forcing the viewer to look up at it-as if in pious devotion to a religious symbol.
Since 2007, Reutimann has worked on approximately 40 sculptures. However, only 15 of those went into production. “There were some that I didn’t want to take all the way,” he said. “I like to look at it more long-term. I’m not necessarily interested in selling, but selling to the right person who’s really into my art.”

Currently, Reutimann’s work is on view at Cavalier Galleries in Greenwich, Conn., and Nantucket, Mass., as well as Collection Privée in Miami Beach, Fla., and Jane Sauer Gallery in Santa Fe, N.M.

Notable collectors include Elton John, who has a male nude sculpture that stands more than seven feet tall, and Neil Patrick Harris, who purchased a sculpture called “Homage to Michelangelo” of two male arms clasped at the hands.

“He loved how it represented the relationship between he and his partner,” Reutimann said.

The artist opens his 1,800-square-foot Boulder studio to the public on October 1-2 and 7-8. “I have a large local client base, and they all come to my studio to buy directly,” he said. “I usually have about
12 to 15 pieces of inventory, and visits are by appointment only.”

For more information, visit www.rogerreutimann.com.

RELATED: More Denver artists here.