Rony grew up on the work of old masters like Caravaggio and Bernini. He was always fascinated by the geometry and intimacy of the Italian Renaissance and the architectural opulence of the Baroque. At the start of his career, he spent four years in Venice, where he learned from Italian master glassmakers. He considers that period of his life essential to his work. To this day, he fondly remembers his contemplations on sacral architecture, which inspired him with its classical proportions as well as its exuberance of colored details. The matte finish of the colors masks the natural transparency of glass. Rony materializes visually powerful “sacred” objects from this amorphous material much in the way that a sculptor carves out a statue. As in sculpture, some of his pieces (Memento Mori, Saint Theresa) stand on a pedestal, thus giving the impression of complete spiritual harmony.