Born in Prague on 27 January 1957, Jaroslav Róna is a sculptor, painter and performer belonging to the postmodern generation of the 1980s which has experienced the period of communism, its fall and transition to democracy. He was a member of the Tvrdohlaví (The Stubborn), a significant art group which participated in activities leading to liberation of the art scene from socialist demagogy. He has also worked as a theatre and film designer and participated in architectural work. The main focus of his work is creating sculptures for public space and painting. From 2005 to 2012 he taught the art of sculpture at the Academy of Fine Arts in Prague. His most famous sculptures in public space are, among other things, the following: Franz Kafka Monument in Prague for which he received the Grand Prix of the Society of Czech Architects; the Red Giraffe in Prague; the equestrian statue of Jošt of Luxembourg in Brno, the Mythical Ship in Bratislava; and the Child from Mars on Mount Ještěd. Since 1985 he has exhibited in Bohemia and after 1989 also abroad. He has illustrated several books, including 1984 by George Orwell and The Citadel by Saint-Exupéry. He has published two books of his drawings and texts.
The sculpture of Rhinoceros was created from a simple idea - to use the protective armor of one species of African rhino, consisting of massive leathery and horned plates to create a fantastic figure of a rhino knight - a colossus that will combine human and animal elements. At the same time, the sculpture symbolically points to the need for world protection of a beautiful creature from the African wilderness, which, thanks to human stupidity, superstition and greed, is gradually disappearing from the earth's surface. It is common knowledge that rhinos have been systematically hunted over the last century for their horn, which is sought after by the superstition - that the powder from it cures male impotence. The forgotten theme of the knight in armor is one of the distinctive sculptural themes that the author returns to the scene of contemporary sculpture after a long time, of course in a transformed form, which proves that no theme is ever doomed to permanent oblivion.