The work of Reussner is the story of a synthesis between the two facets of the same artist: the painter, who was trained at the age of twenty in the workshops of André Lhote and Fernand Léger and made his first personal exhibitions in Geneva and Lausanne in the sixties; and the sculptor who takes over his father's foundry in 1961 and works for twenty years for many artists around the world.
It was at the beginning of the 1980s that Reussner decided to devote himself to sculpture. At first, and naturally, he works in bronze, but his requirement as a visual artist encourages him to seek a material better able to express not only his taste for a geometric structuring of space, already very present in his paintings, but also his search for a tactile and visual sensuality immediately perceptible.
It will be the stone, and more specifically two stones, the white marble of the Greek island of Thasos, and the gabbro, this black plutonic rock resulting from slow crystallizations of the South African lands. Here again, two facets of the same approach: he chooses the most radiant white marble, this crystalline stone almost diaphanous and translucent at the edges, but also the best able to trap the shadows, and the deepest black basalt, but also the most apt at capturing and reverberating the light ... so he leads this continuous search from white light to black light.
This black and white sculpture is based on a fundamental, foundational cube. It is from this geometry that he considers perfect, that Reussner invents spurts, oblique stacks, penetrations, worked with a sharp science of emptiness. The same challenge, consisting in banishing any idea of color, favoring a constant search for light and a rigorous organization of space, presides over his pictorial approach. The black and white squares of Reussner are arranged according to a pure, cosmic geometry and the harmony of the golden ratio.