Charleston-based figurative expressionist painter Sam Rueter muses through the female form with deep, heavy brushstrokes combined with her strikingly muted color palette. It’s the way her subjects can emotionally move a viewer across the canvas, and at the same time instantly draw the eye from top to bottom through delicate acrylic drips. Through an easy disconnect of highly curated content across social media, Rueter uses her platform to her advantage by sharing her journey very candidly through both success and downfall, and collaborating on ideas to inspire other artists across the world.

Tell us a little about you! How did you get your start?

I was born and raised just north of New York City, in the Hudson Valley. I think I’ve been an art room kid as long as I can remember; I just was never sure what that information meant in the scheme of my life. My dad has a BFA and was always encouraging me to see the world through a different lens. I naturally drifted towards the arts all through grade school; but I wasn’t entirely sure how to incorporate that into my future. I graduated high school at 17, and my parents and I decided the only way an art degree would make sense was to become an art teacher. I chose to dual major in fine arts and arts education. At first, I was incredibly jealous of the painting majors and sculpture majors; knowing they were spending all of their time honing in on one focus. But I quickly grew to love the path I had chosen-- because I had to learn all of it. In order to become certified, I was required to take several levels of each and every medium. It really opened up my world from the basics of drawing and painting. Still, I never took the process serious enough to focus on what a ‘career’ in the arts meant and/or could look like. I had lesson plans, student teaching, and education courses on top of it all, and they always took precedent. Becoming an independent artist was never a part of my life plan, which makes me laugh now. I like to think that we always end up right where we belong, even if we aren’t sure where that is.

I look back on my short-lived education career and I’m always extremely thankful. Working with young minds, especially in the arts, is extremely rewarding. I had been teaching for around four years or so after graduation, when my partner and I decided to move to a new city in Charleston, SC. We were looking for a fresh start and didn’t have much of a plan, which truly was the point. The teaching offers I received were for far less pay than I needed at the time, so I was back to working odd end jobs. The upside of these food and beverage jobs meant I had much more free time than I did as a full time educator. I turned our spare bedroom into my ‘studio’ and began utilizing all of my free time painting, drawing, experimenting. After doing a few commissions for friends and some new clients, I gained the confidence to start my website and develop a brand. I wasn’t sure where or what my creative voice even was anymore; after being put on the back burner for so long. But I was determined, and nothing was going to stop me. All of my time was dedicated to learning the ins and outs of starting a business, networking, and of course- making things. I hardly slept for those few years. I’m grateful for that time of shifting and all of the loved ones around me who encouraged it; who fed my flames. I literally had no idea what I was doing or what the future held. I just knew that nothing in my entire life felt the way this thing did. That I was doing what I was supposed to be. And still, to this day, that is always enough.

What inspired you to start working more with figurative painting? Do you remember the first piece you made? What medium do you prefer and what led you to continue wanting to work with it?

Mmm a tough one to answer! I was required to take figure drawing and painting classes in college. Figure drawing was always one of my favorites- getting messy with the charcoal was challenging and exciting. Painting on the other hand- I LOATHED these painting classes. I was bored out of my mind most of the time and I had zero interest in working with oils. In fact, at my portfolio review just before graduation; the art chair told me my paintings were the weakest part of my portfolio; that it would behoove me to leave painting in the past. I still giggle thinking about this sometimes! It goes to show that no one else should be dictating what you aim for in this life; because clearly nothing is impossible! haha

While I was in school, I completed a shortened study abroad as an independent artist residency in London. The focus I chose was the female form throughout impressionism and post impressionism. No matter the exhibition or gallery, I was always drawn to the form; from Vermeer to Monet to Degas. I was drawn to the way women were displayed in intimate settings, especially in Bather themed works. I often wondered if they were truly representational of those moments, or a mere fantasy-like viewpoint from the (often) man creating them. I sketched and painted my own reproductions of many of my favorite Master pieces, along with my own ‘bather’ series once back in the states. I suppose those were the first true figurative works I had created with intention. I left them behind for quite some time. It wasn’t for another 6 years or so that this focus would re-emerge in my work.

When I first began my serious studio practice and selling work again in Charleston, I immediately dove into seascapes and abstract compositions; inspired by the coastal energy that surrounded me. If I remember correctly, the switch came when I participated in Elle Luna’s ‘100 Day Project’. I had decided to sketch gestural figures on 6x6” paper each day, for 100 days. I felt a calling to the project, not only from a personal standpoint, but also for the evolution of my work. It really challenged me to revisit the female form and remain dedicated to a creative practice for an extended period of time… even when it felt annoying or uncomfortable. Shortly after, I reverted back to charcoal drawings, figure drawing classes, etc- and the flame was ignited again. I took my love of charcoal and pastels to canvas, and the acrylics followed. It’s still a part of my process to this day; the layering of these mediums.

How do you choose what you emotionally reveal through both your platform, and through your own work itself. Do you still feel you may cut yourself off from sharing too much?

Social media was such a significant tool when I was first expanding my creative practice and starting my business. I was so inspired by those who were sharing their work and even life adventures through these tiny squares. The friendships I was able to form through Instagram truly inspired me to learn, grow and expand my world. I look back on these relationships today and truly notice how impactful they were in pushing me forward. Social media has since grown to much more than I think all of us could have ever imagined- and it is densely saturated with curated content. I enjoy using mine as a living, breathing portfolio of my work and studio process- but also to connect with others. On a personal level, I often struggle with the immense feeling of disconnect in our modern world. As kids, we grew up without cell phones and mostly without internet- where talking face-to-face and spending our day curiously fumbling through the world was our only option. I do feel like many of us wander through life carrying that feeling of nostalgia, wondering why we feel more and more uninspired and depressed. I worry that my phone will hinder my process and it’s something I think about daily.

If I am going to be on my phone and sharing pieces of my life and work- it’s very important to me that they are authentic. I know I am adding to the noise, and that if I choose to do so- I want to at least attempt to be intentional about it, while also acknowledging that I could be doing more. Using my platform to have honest conversation, create a safe space for ALL individuals, and support relevant initiatives are things I hope to not lose sight of.

Over the last year and a half, I’ve struggled more with this and have begun sharing less frequently on social. Part of this decision is knowing I don’t need to be adding to the constant noise and consumption, but also acknowledging the struggle of possibly sharing too much before I’m actually processing it myself. As an artist, I often wonder if all parts of my life must be revealed to the world in order to make that connection with strangers- I’m not sure that's a sustainable place to live, where your insides are always scooped out for all to witness.

For now, I’m able to focus on the shared, collective experiences I feel called to discuss. I’m finding that posting to a shared emotion or experience, rather than specific personal events of my own life- are a healthy balance and conversation starter for the time being. I am trying to be forthright and vulnerable while also leaving a space for ‘me’ to exist within myself. A boundary so to speak.

When it comes to my work or a new piece, I don’t necessarily choose what to reveal; since it can represent a different experience for each viewer. My personal journeys do seep out into my pieces; because I am not separate from them. That’s why as artists, we take criticism so personally, no? Because the work is an extension of us.

I’m trying more these days to let the work do the talking, especially when I cannot.

How is being an Artist where you live? What is the creative culture scene like?

Charleston has been very good to me in terms of beginning a career with communal support. I have met and formulated friendships with a diverse outlooks on life and the creative practice- in all forms of art. These friendships are ones I will cherish for the rest of my life. There are incredible humans here doing really wonderful and inventive things. The overall community Charleston is very supportive of small business and also the growing art industry, which has been essential. I was fortunate enough to have a studio space at Redux Contemporary Art Center; which opened many new doors and relationships I would have never accessed had I not been a part of that community space. I’ve worked with many local businesses in the start of my path here and it’s always allowed me to level up and gain new momentum. I will always be thankful for my time spent in this little city.

It was a bit of a culture shock when first moving here. In terms of the South, Charleston is considered progressive and changing quickly, which is important. There is a long, long way to go- in many aspects. In terms of the art world, I have been saddened to watch many talented creatives leave the area to pursue more progressive and art-centered markets. I’d love to see Charleston move forward with more public art spaces and programs.

How would you describe your style in three words?

Emotive, Feminine, Intuitive

What are some of your favorite pieces you created to date?

The first piece that comes to mind is an installation we made in 2019 called ‘Slash and Burn’ for a local organization event. I created the interactive, performative piece in collaboration with my partner in crime, Bri Wenke, who is also a local artist. So much energy and thought went into this piece, from the design process to the actual building and performance. We’re very hands on and love to do the work ourselves; (sometimes too stubborn) and decided to not hire a team to help us finalize the structure and install. It was challenging from the start due to time constraint, but I always cherish working with Bri because she pushes me to be the best version of myself, while also giving me new insight to problem solving etc. Installation art always feels a bit out of our comfort zone, but it is always the most rewarding. Being out of the 2-d aspect of the creative process is so refreshing. Nailing this project felt really, really great.

When I look at those photos, I feel proud of not only the work we accomplished, but the overall message of the piece. One of my oldest friends was also a model within the installation, and seeing her displayed so powerfully in these photographs makes me emotional. She (and the other wonderful models) took the random, chaotic vision we had in our heads, and truly brought it to life.

What are some of your goals for 2021? What’s next?

I’m a goal setter, always have been. If anything, 2020 forced me to slow down and truly reflect on what brings the most joy and curiosity into my life. So many goals, exhibitions and plans were destroyed in the wake of the pandemic, and it reminded me to shift gears. Life cannot always be achievement driven, especially in the creative process- or we’re bound to be let down. This kills drive, it kills creativity, it formulates resistance.

My main thought for 2021 is to take myself less seriously. The world is intense enough as it is! To live more for the present moment, to give myself the same grace, patience, and care that I extend to those around me.

And to keep painting.

A Moment with Sam Rueter