Sergio Romero - Orbita interior






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Sergio Romero, Orbita interior, acrylic painting, original edition, created in 2026, 38 cm by 46 cm, 300 g, signed by hand, produced directly by the artist in Spain.
Description from the seller
This work is part of a recent pictorial investigation in which automatic gesture, spatial structure, and symbolic repetition become a single visual language. Although at first glance they may seem impulsive or spontaneous, each arises from a process of observation and refinement derived from a much more architectural and precise previous work, developed over years through marker, linear drawing, and manual construction of space.
In this new series, that precision does not disappear: it transforms.
The line ceases to behave solely as contour or structure and begins to act also as energy, rhythm, and physical expansion on the surface. The gesture is freed, but an internal system of organization continues to exist. Signs repeat, paths cross, tensions balance, and space is delimited by an invisible architecture that supports the entire composition.
Each work functions as a moving mental map: layers of memory, impulses, routes, and emotional structures that coexist within a single plane. The apparent chaos is crossed by conscious decisions about density, emptiness, balance, saturation, and visual direction.
The repetition of frames, orbits, neural lines, and circular cores generates a grammar recognizable throughout the series. It is not about chance or pure automatism, but about an inquiry into how to translate thought, tension, and sensitivity into a contemporary pictorial writing.
Acrylic paint replaces here part of the rigidity of technical drawing with a more bodily and physical presence. The work is no longer just built: it also happens. The stroke preserves the memory of movement, of time, and of the direct gesture, always maintaining the same visual signature that defines the overall research.
These pieces oscillate between:
drawing and painting,
control and expansion,
architecture and automatism,
writing and abstraction.
The result is a series that proposes a language of its own, where gestural intensity coexists with a rigorous internal structure and where each composition acts as a direct extension of a mental, emotional, and spatial system in perpetual transformation.
This work is part of a recent pictorial investigation in which automatic gesture, spatial structure, and symbolic repetition become a single visual language. Although at first glance they may seem impulsive or spontaneous, each arises from a process of observation and refinement derived from a much more architectural and precise previous work, developed over years through marker, linear drawing, and manual construction of space.
In this new series, that precision does not disappear: it transforms.
The line ceases to behave solely as contour or structure and begins to act also as energy, rhythm, and physical expansion on the surface. The gesture is freed, but an internal system of organization continues to exist. Signs repeat, paths cross, tensions balance, and space is delimited by an invisible architecture that supports the entire composition.
Each work functions as a moving mental map: layers of memory, impulses, routes, and emotional structures that coexist within a single plane. The apparent chaos is crossed by conscious decisions about density, emptiness, balance, saturation, and visual direction.
The repetition of frames, orbits, neural lines, and circular cores generates a grammar recognizable throughout the series. It is not about chance or pure automatism, but about an inquiry into how to translate thought, tension, and sensitivity into a contemporary pictorial writing.
Acrylic paint replaces here part of the rigidity of technical drawing with a more bodily and physical presence. The work is no longer just built: it also happens. The stroke preserves the memory of movement, of time, and of the direct gesture, always maintaining the same visual signature that defines the overall research.
These pieces oscillate between:
drawing and painting,
control and expansion,
architecture and automatism,
writing and abstraction.
The result is a series that proposes a language of its own, where gestural intensity coexists with a rigorous internal structure and where each composition acts as a direct extension of a mental, emotional, and spatial system in perpetual transformation.
