Current Exhibition

Anthony Foronda

Illustrator & Designer

Learn more about Anthony »

Anthony Foronda has graced the pages of The New York Times, The Washington Post, Red Herring financial magazine, St. Petersburg Times, National Public Radio, Government Executive Magazine, and was a regular contributor to the Miami Herald's weekly Tropic magazine with a weekly illustration for a column called "True Lies". Before freelancing full time, Anthony worked as a creative director focusing on advertising to ethnic markets in the U.S.

Anthony was chosen to be in American Illustration 26, 28, and 32. He has been recognized in The Society of Illustrators of Los Angeles Illustration West 43, 45, 48, and 53, as well as by a Third Place Award in the 2005 Alternative Pick Awards. In 2011, 2014, 2016, and 2018 he had works selected in the Luerzer's Archive of Illustration's "200 Best Illustrators Worldwide" competition out of Vienna, Austria. His work can be seen at the Liberia Glowinski in Oleniska, Poland. His graphic work is on a line of greeting cards on the iPhone app Paperwoven and VIDA, a clothing company. He has been asked to submit artwork to the clothing store Anthropologie to sell prints online and in select locations. He has exhibited work in SOHO, NYC, Los Angeles, Tampa, Washington, D.C., and Baltimore, as well as around Connecticut. He has taught at the Ringling School of Art and is in the Art Institute's online curriculum for multimedia graphics. He is currently part of the adjunct faculty at Quinebaug Valley Community College and teaches at Pomfret School, a boarding school.

Anthony lives in the rural town of Putnam, CT with his wife Michelle, daughter Beatrice, and his studio pal and kitten Mochi. In his spare time he studies the Japanese martial art Aikido, practices Zen meditation, is a council member in town organizations, and enjoys travel. Anthony is a political activist and believes that art has an obligation to inform the community and world about the truth.

Artist Statement

"I have been illustrating and designing for over 25 years. My work can be categorized by two styles. One, which I have been known for, I call Primitíf. It is recognizable by "primitive" uses of the figure. These forms can be seen in Oceanic and African Art. In the Philippines, the country of my heritage, they can be seen as Animist figures protecting rice fields and natural objects. I use playful imagery with texture and saturated color to illustrate concepts that show diversity, social and political themes, and narrative objects.

Realismé is a style that I've spent the last few years developing to talk specifically about political, cultural, and social issues in a historical context. I believe that this style would be able to present "reality" through my own unique understanding of a "truth". This truth is one that the media seems to gloss over. I believe that the single image allows the viewer to "rest" on concepts and hopefully enlightens them to a "truth" like the iconic image of a stop sign telling the viewer to stop and notice."