Ron Rovner originally worked in stained glass, but has since adapted the colorful geometric patterns afforded within that medium to canvas, panel, or textured papers using acrylic, charcoal, pastel, and sepia ink. In all his work, various contrasting elements, materials and textures are layered in such a way so as to achieve a harmonious balance which results in a sort of narrative flow suggestive of a musical composition.
As a classically trained pianist and musician, my goal is to create works which emphasize the musical fundamentals of harmony, balance and rhythm. Each piece is unique and entails a process of reconciling apparent opposites such as the ancient with the contemporary, the angular versus the lyrical, and amorphous color background fields with bold foreground figurations. The idea is to create work which combines the creative aspects of music and visual art which represents something more than the mere sum of its often disparate parts.
The “NachtMusik” series is inspired by the music of the early twentieth century serialist composers, particularly Arnold Schoenberg. The black squares each represent one of the twelve notes of the musical scale. Each is given equal weight, and there are no repetitions in any of the rows or columns in which they appear.
These constitute the “melody” or tone row providing a foundation upon which the rest of the composition is based. In most instances, there are also counter themes comprised of squares of different color, or squares which are only partially filled. These represent the three variations possible in the context of Schoenberg’s principles: inversion (upside down), retrograde (backward), or retrograde inversion (upside down and backward).
The other symbols or elements provide a sort of harmonic structure, as well as dynamic gradations, such as crescendo/decrescendo, and are arranged in such a way as to maintain balance and rhythm against a more neutral background.
These elements often occur in groups of triplets arranged in such a way as to suggest interwoven contrapuntal motifs, which also constitute a type of rhythm and serve to integrate all of the other components within each composition. Many of these elements unmistakably evoke the Southwest in terms of palette and symbolism, thereby reconciling ancient and contemporary aesthetics.