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This is one of a series based on my memories of Berlin during the late 60’s when, as a child, i would visit my grandparents and have to pass through a series of checkpoints run by the occupying troops: as my father was in army, the Russian checkpoint was always the most difficult.

Line is used as a signifier but I used a 200mm wide rubber squeegee to apply my base paint and then stiff brushes and a palette knife for detail 

The canvas is left unpainted in parts from a belief that what is not said has as much value as what is; everyone has secrets and it is the silences in a conversation that often give these away
This is one of a series based on my memories of Berlin during the late 60’s when, as a child, i would visit my grandparents and have to pass through a series of checkpoints run by the occupying troops: as my father was in army, the Russian checkpoint was always the most difficult.

Line is used as a signifier but I used a 200mm wide rubber squeegee to apply my base paint and then stiff brushes and a palette knife for detail 

The canvas is left unpainted in parts from a belief that what is not said has as much value as what is; everyone has secrets and it is the silences in a conversation that often give these away
This is one of a series based on my memories of Berlin during the late 60’s when, as a child, i would visit my grandparents and have to pass through a series of checkpoints run by the occupying troops: as my father was in army, the Russian checkpoint was always the most difficult.

Line is used as a signifier but I used a 200mm wide rubber squeegee to apply my base paint and then stiff brushes and a palette knife for detail 

The canvas is left unpainted in parts from a belief that what is not said has as much value as what is; everyone has secrets and it is the silences in a conversation that often give these away
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Berlin-check Painting

Ronnie Rennoldson

United Kingdom

Painting, Acrylic on Canvas

Size: 39.4 W x 39.4 H x 1.6 D in

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About The Artwork

This is one of a series based on my memories of Berlin during the late 60’s when, as a child, i would visit my grandparents and have to pass through a series of checkpoints run by the occupying troops: as my father was in army, the Russian checkpoint was always the most difficult. Line is used as a signifier but I used a 200mm wide rubber squeegee to apply my base paint and then stiff brushes and a palette knife for detail The canvas is left unpainted in parts from a belief that what is not said has as much value as what is; everyone has secrets and it is the silences in a conversation that often give these away

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:39.4 W x 39.4 H x 1.6 D in

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From my Bristol based studio I produce only 12 paintings a year. After considerable reflection I tend to work directly onto the canvas; marks emerge, which are followed and shaped: line is the prime signifier. Initially studying art under the Scottish colourist, John Nelson at Stevenson College in Edinburgh Ronnie 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 he set up his own practice, CODA Architects, where he could explore themes that would also inform his Art : intellectually generated, poetically inspired projects that reflect the ’genius Loci ‘ of a place. Wining numerous architectural awards Ronnie sustained his passion for Art by incorporating Art wherever possible in his projects and by creating his own abstracts 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.

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