Danny Romeril

Danny Romeril’s work focuses around music and its imagery. From musicians and bands to still-lives of instruments and album covers; the iconography and physicality of the production of music is what drives Danny’s paintings, sculptures and prints. Drawn from a deep and broad love of music the works don’t aim to interpret or represent specific types of music or songs but instead try to stand in for music, not as a replacement but as a place holder for it by exploring the visuals for something that is totally audio based.
Drawing from art history and the inherent physicality’s of paint Danny’s work is thick with layering, collage and reworking, picture surfaces are flattened and objects simplified to reduce the pieces of a painting to a short hand form which is reinterpreted and manipulated every time it is used. A language is common throughout Danny’s paintings; instruments, characters or scenes may reappear as quotations. Through paintings, sculptures and prints but each time are tackled as if for the first time, this gives the works a combined universe in which they exist.
Danny Romeril (b.1996, Jersey) is an artist living and working in London. He studied at Central Saint Martins, graduating in 2019 and has since shown both in London and internationally.

‘My work has always been connected through the language used when painting, be it a drum head flattened to a circular plane or a guitar painted in a particular way. The works in this show spread over the last year and a half of my creative output. Usually working in series, these pieces spread through the different investigations that have been made in my work throughout this time. Music is the key feature in these paintings; sound systems, orchestral instruments and skiffle bands come together as a great cacophony of silent music. The fact that music is only audible but has so much relationship to a visual reality is something that has driven the investigations presented here in these works. How can I paint a sound system without its lack of booming bass? How would a pile of instruments sitting unplayed on the stage of an empty auditorium look? The absence of live music and performance throughout the last couple of years seems only to make these works more poignant to me. As the world fell silent from live bands so did the paintings, instead the listeners are absent and the music is only imagined.’