Daniel Roibal, born in 2001 in Palma de Mallorca, Spain, is a contemporary artist known for his abstract paintings that invite contemplation and reflection. He earned a BA in Fine Arts from Chelsea College of Arts in 2024 and is currently pursuing an MA in Painting at the Royal College of Art in London. 

Roibal's artistic vision is deeply influenced by his experiences with nature, particularly the Japanese practice of Shinrin Yoku, or forest bathing, which emphasizes mindful immersion in natural environments. This connection to nature inspires his work, aiming to evoke a sense of interconnectedness and presence. Roibal's paintings are characterized by their dynamic compositions and thoughtful engagement with the natural world, encouraging viewers to immerse themselves in the present moment.

Notable solo exhibitions include "Pilotism: The Millennium Nomads" in Beijing, China (2024) “PANORAMA” at Galería Fran Reus in Palma de Mallorca, Spain (2023), and “Canopy of the Anthropocene” at Hoseo ArtProjects in Seoul, South Korea (2024) as well as Voices at CICA Museum in Incheon S. Korea.

Your work has a palpable rhythm and vitality, and the palettes are vibrant and fresh. These are optimistic paintings for the tough times we live in. How far do your paintings reflect your worldview? 

I try not to add too much from the outside world inside my paintings, but it is difficult not to separate what happens inside the studio from what happens outside. I think I paint what I want to see in the world. I come from a very bright and colourful island in Spain, so somehow the way I have to see the world is through vibrant and dynamic colours. I think the fact that my paintings are often seen in London, which is known for its grey sky, accentuates the vibrant palette of my works.

Many of the titles of your works seem to correspond to specific memories, locations or experiences, in particular "Ver el mar después de mucho tiempo" or "Una Noche En Macao". How important is memory as a source of inspiration for your work?

I think what I am looking for when I paint is to create an emotion in the person in front of my work, and somehow, that applies to myself too. Once I finish the work, I like to sit in front of the canvas and see where my emotions go, and often, where they lead ends up being the title of the painting.

The line and form in your works possess an articulate lyricism and what seems like a kind of spontaneous expression. Your technique reminds me of music genres like free-form jazz and tropical rap. How much conscious control do you exercise over the composition of your works? For example, do you spend a lot of time in the planning stage?

I sometimes joke that my paintings are made “brainless”; I try not to plan too much or add any preconceived ideas to the painting; the process is basically action-reaction in the first stages; it goes as a conversation, unplanned and spontaneous. Later in the process, I like to take my time, sometimes hours, sitting in front of the painting to finish with the last strokes. I think the spontaneous dynamism in my painting process is the key to keeping my work always fresh, alive, and even surprising for me.

On the subject of creative influences, I’ve read that you listen to music and use poetry as a source of inspiration. What is influencing you at this stage in your artistic development? Is there anything new you’ve discovered, and are there any sources that you keep coming back to?

Right now, I am completing my MA in Painting at the Royal College of Art, so I would say that my major influences are my classmates. Every day I am surprised by how they evolve and keep the practice alive so it’s like an open book that every day keeps changing and I am learning from it. Apart from that there is my “painting bible” that I always go back to check and learn with painters like Albert Oehlen, Joe Bradley or Pam Evelyn.

In many of your works, including the ones you display on your Instagram, the canvas is left un-gessoed, and the ground of your painting is a very light tan. It seems that two of the works in the show at D Contemporary have much darker and maybe richer undertones. What can you tell us about the new paintings you are showing at D Contemporary?

For the past year, most of my practice has been in raw canvas, but lately, I am rediscovering myself and trying to use primed linen, which allows me to develop my language a little bit more. The three paintings shown at the gallery are primed linen, where all the surfaces are painted, which helps me to bring a bigger contrast between the painting and the wall, which I think adds strength to the pieces.

In this body of work, I am trying to find depth through the surface of the canvas, so playing with a large number of colors and strokes allows me to create a different universe in every piece.

What are you most looking forward to in 2025? What’s next for your practice this year?

First graduate! I am very lucky, as I have some shows planned in Spain, the USA, and a few in Asia Pacific. That motivates me to keep my work evolving and gives me extra confidence to be brave in my practice and bring all my ideas to the game. But most importantly, go to the studio, enjoy, and keep painting!

HERE TODAY, GONE TOMORROW

D Contemporary 

23 Grafton St, London W1S 4EY

DANIEL ROIBAL | KEISUKE AZUMA | SIN U LAM 

17 January - 8 February 2025