“Encountering art is a time-based, psychologically rooted, complex personal as well as public theatre. Those of us who devote great periods of time making, thinking about, and viewing it are performers in this theatre.”
- Ron Morosan
Ron Morosan’s paintings are semiotic constructs: the blocks of color, ambiguous organic shapes and purposefully crude drawings (some populating more than one painting), create compositions in which unintended narrative threads overlap. The titles often include cultural references which provide clues to enter his multiverse and to understand its private system of signs.
Morosan’s work reflects on the contemporary world with its plethora of images and lack of focus on the underlying meanings. Geometry and categorical imperatives co-exist with Maeterlinck, Aldous Huxley, Max Weber, the “culture glut” and Louisa Mary Alcott in the pictorial space. Influences and correspondences range from early Dada at the Cabaret Voltaire, Surrealism, Hans Hofmann, but also Matisse’s line drawings. The paintings are not intended as solutions or archetypal narratives, but rather as fragments of a diary in which blocks of information facilitate fortuitous encounters that generate meaning and ultimately their own stories.
Ron Morosan is an artist, writer, educator and curator. His work has been exhibited internationally, including at the American Pavilion of The Venice Biennale and the Circulo De Bellas Artes in Madrid, Spain. He has written extensively about art and is the recipient of a National Endowment for the Arts grant; museum collections include MOCA Chicago, The Mint Museum, Charlotte, NC, New Jersey State Museum, Islip Art Museum and others.
“Morosan’s work reflects a contemporary world in which no one answer will suffice, in which we are almost always “multi-tasking,” in which we contemplate a long history of the uses of line and color, now being free to mix all in one world. Unable or unwilling to opt entirely for the world of universal truths and stability, but not ready to abandon it altogether for the compelling nature of a totally personal language that sometimes abandons linear reasoning in favor of a dreamlike inner reality, Morosan sets these two worlds, the universal and the personal, together in an amalgam that he challenges us to enjoy if not to decipher, and to accept on the authority of the artist himself.”
- Barbara Valenta