Abstract Painter and Photographer with and interest in public realm projects Born in Germany to army parents, Ronnie initially studied under the Scottish colourist, John Nelson, at the newly opened Stevenson College in Edinburgh. Living in garrison towns in both England and Germany, summers were spent in Berlin with his German family and while negotiating the impact of both a divided Germany and the Berlin wall, he developed a taste for modernism and an understanding of place; admiring the work of the architects Hans Scharoun and Mies van der Rohe as well as the art of Robert Motherwell and Franz Kline. Moving to Dundee he studied at Duncan of Jordanstone College of Art and Design before graduating with degrees in Architecture from Dundee University. While working in Bristol and winning accolades for his public sector projects he enabled notable artists such as Elizabeth Frink, Martin Donlin, Robert Harris, John Hubbard and Kate Blee to incorporate their work within his projects. Having set up the award winning architectural consultancy CODA Architects, he was able to explore themes that would also inform his Art; themes that were intellectually generated, poetically inspired and reflecting the ’genius Loci ‘ of a place. Now working full time from his Bristol based studio he produces just twelve to fourteen works a year, works all rooted by an architect's understanding of place and the importance of line to explore identity through memory and the human need to tell stories. His work has been exhibited in Royal Scottish Academy and Royal West of England Academy , in 2020 had two paintings exhibited in the acclaimed 20 Contemporary Painters exhibition in Centrespace gallery, Bristol, has work exhibited in Swindon Museum and Art gallery and photos published on web sites and in books.
- Veil of TearsA proposal for the temporary use of the plinth remaining after the toppling of Colston's Monument in Bristol. Submitted to Bristol City Council as a mechanism to start a debate on the memorialisation of past dignitaries whose moral compass now is seen as offensive. Unfortunately BCC decided to appoint a commission to evaluate all monuments in Bristol and their role in defining Bristol's history which seems like an exercise designed for procrastination . I proposed an abstract sculpture w
Projects credited in
- between noise and silenceSolo show of paintings undertaken between may 2019 and 2020 to be shown in Averys wine vaults, Bristol. These new paintings explore the disparity between what was and what is remembered while exploring the potential for personal reinvention enabled by the silent detachment that comes from displacement. After the silence develops, what remains are memories, a handful of photographs, music too painful to hear and a future unfettered by a past. Displaced, detachment and the opportunity of reinvent
Artist, PhotographerRonnie Rennoldson Artist
Bristol, United KingdomFull Time
Painter and Photographer interested in public realm projects : Initially studying art under the Scottish colourist, John Nelson at Stevenson College in Edinburgh, I moved to Duncan of Jordanstone College of Art and Design in Dundee before graduating with degrees in Architecture from Dundee University. After working with the internationally acclaimed architects Percy Thomas Partnership in Bristol and winning accolades for his public sector projects I set up CODA Architects, where I would explore themes that would also inform my Art: work that was intellectually generated, poetically inspired and reflecting the ’genius Loci ‘ of a place. Wining numerous architectural awards I incorporated art wherever possible within my projects meanwhile creating my own abstract paintings; rooted by an architects understanding of place and the importance of line to explore identity through memory, impulse and the human need to tell stories and make marks. Working full time from my Bristol based studio my work requires sketches and reflection before working directly onto the canvas. A work emerges, which is then followed and shaped: line is the prime signifier with the focus on the paint. Canvas is often left untouched, sometimes to crowd the paint, sometimes left as vestigial space to allow the paint space to breathe, from a belief that what is not said also has value and that the canvas should merely hold an idea not limit it.
Owner and design directorCODA Architects
- Bristol, United KingdomFull Time
Award winning, design lead architecture and interior design consultancy specialising in Healthcare and Public realm projects
- Project Conception
- Project Management
- Business Administration
- Public Art
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