Written for Madame X, a collector, March 17, 2025
I may begin a painting - wether large or small - with a desire for colour.
It's not always the case. It comes naturally.
In this painting and other small-format works from 2023 - both those that preceded and followed it - Ultramarine Blue has taken center stage. It is a colour I love and to which I have given a special place because of its ancient history and the fact that its pigments are ground from the semiprecious stone Lapis Lazuli.
This blue is both contemporary and imbued with memory.
The reddish - brown in the background, evoking the same sense of depth, is steeped in it.
That said, the process will continue through a interplay of sounds, scents, touch, emotion, and warmth with these red-pinks and pink-reds in various shades, coexisting, clashing, constructing or deconstructing a "frame".
This idea of essential lines emerging or fading away - a framework - drawing - is a recurrent theme in my painting.
D.Romeyer
The Plinth, S.M.A.K., Gent, 2022
The Red Thread is missing
With the plinth, I was experimenting with a physical painting itself.
On one hand, the very small painting was intalled on a solid plinth (100 x 100 cm).
It became neither a painting, neither a sculpture but a new work as object.
On the other hand, this installation took place on the very large room n°1 in the contemporary Art Museum of Gent.
The work was surrounded by a disturbing, disorienting space.
First, I thought that's to "attach" both the plinth and the painting with a thin red thread to similar a security (an arrimage).
In the triptyque painted by Cosmè Tura, I remembered the red thread turning around a column, on the right panel of the Annunciation.
Finally, I decided to leave floating the plinth-painting in the space.
The Red Thread is missing.
D. Romeyer
Mobilité Formelle
From May 20 to 04.06.2017
La Part du Feu
Avenue Jean Volders, 56 Brussels
Dominique Romeyer's paintings are focused on the formal aspects as surfaces, shapes, colour, materials bringing a sense of asserted touch.
Dominique Romeyer's paintings produce subtle imbalances, oppositions between contradictory formal principles, geometry/ the unexpected and the chance, constrution/deletion, mechanical/gestural, refinement/ elementery processes.
Dispersion and brushwork upset the idea of construction. Associated with hieratic shapes, these notions create a kind of rythm, a context of mobility.
This "Mobilité Formelle" is therefore developping in the fluctuating and geometrical context, by means of lines and figures with colour interaction now and then.
Stylistically, the overlapping layers of colour increases the sensation of variability.
D.Romeyer
Momentum in Motus
From May 21 to 11.09.2015
Galerie/Zetel CRELAN
Boulevard Sylvain Dupuis 251 Brussels
Dominique Romeyer's recent works form a collection of series whose approach - based on the selection of nine colours - stems from a series created in 2000 (during a residency in Budapest).
The subtle connection between them confirms her fascination with colour.
Later, the strict composition breaks free from formal constraints.
The swift brushstrokes, spilling across the canvas, bring a new spatial experience to her paintings.
Dominique Romeyer and Aimée Terburg share this engagement with formal abstract art. Their exploration - both playful and serious - leads to a different outcome in terms of spatial experimentation,
yet, they share the experience of a moment frozen in motion.
D.Romeyer & A.Terburg