Bill Ronalds' artwork explores aquatint and etching for his art
making, not because of the inherent multiple images possible, but
primarily because he finds the process and the graphic qualities of
the marks and values most effective for his expressive purposes.
His career as an illustrator and cartoonist exerts an undeniable
influence on his subject matter, as well as his technique.
Ronalds uses imagery inspired by decayed infrastructure,
antiquated amusement parks, pinball, and advertising references as
a metaphor, again, for my expressive purposes. Woven throughout are
often barriers and fences, frenzied and frantic motion, agitated
and dizzying projectiles. He is deeply concerned about the
cultural, ecological, spiritual, and political dystopia we have
created and some of his works address these issues, often with
ambiguous metaphors. Sometimes, though, he is simply mesmerized by
macrocosm/ microcosm, surfaces, patina, planes, and grids, and the
work has no profound significance beyond that fascination.
His recent graphic works, in process, take on a life of their
own and seem to evolve into contemplative exercises. The result is
a dynamic image that changes with the viewers’ distance, drawing
them in to reveal surprises and subtly concealed content.
Ronalds’ work has been exhibited throughout the New York
Metropolitan area, as well as at the Inx Group Exhibition in
Oaxaca, Mexico (2007).
Throughout his career, Ronalds has done work for Doubleday,
Rock Magazine, McGraw-Hill, Inc., Sports
Illustrated, Time Magazine, Buddah Records, Avco
Records, Readers Digest and Random House, Inc., as well as
many other well-known clients. Ronalds received his MFA from
Syracuse University, an MA from New York University and his B.S.
degree from Kutztown University.