Sergio Romero - Neon Silence






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Original acrylic painting by Sergio Romero titled Neon Silence, 2026, measuring 50 cm by 60 cm, signed by hand, in excellent condition and produced 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. At first glance they may seem impulsive or spontaneous, but each one arises from a process of observation and refinement coming from a far more architectural and precise previous work, developed over years using 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 released, but there remains an internal system of organization. Signs are repeated, paths cross, tensions balance and the space is delimited by an invisible architecture that sustains the whole composition.
Each work functions as a moving mental map:
cales of memory, impulses, routes and emotional structures that coexist within the same plane. The apparent chaos is traversed by conscious decisions about density, emptiness, balance, saturation, and visual direction.
The repetition of frames, orbits, nervous lines and circular cores generates a grammar of its own recognizable throughout the series. It is not a matter of accident nor pure automatism, but of an investigation into how to translate thought, tension and sensitivity into a contemporary pictorial writing.
Acrylic paint here replaces part of the rigidity of technical drawing with a more bodily and physical presence. The work is no longer only built: it also happens. The stroke preserves the memory of movement, of time and of the direct gesture, always maintaining the same visual seal that defines the whole of the research.
These pieces oscillate between:
drawing and painting,
control and expansion,
architecture and automatism,
writing and abstraction.
The result is a series that proposes its own visual language, 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 permanent transformation.
This work is part of a recent pictorial investigation in which automatic gesture, spatial structure, and symbolic repetition become a single visual language. At first glance they may seem impulsive or spontaneous, but each one arises from a process of observation and refinement coming from a far more architectural and precise previous work, developed over years using 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 released, but there remains an internal system of organization. Signs are repeated, paths cross, tensions balance and the space is delimited by an invisible architecture that sustains the whole composition.
Each work functions as a moving mental map:
cales of memory, impulses, routes and emotional structures that coexist within the same plane. The apparent chaos is traversed by conscious decisions about density, emptiness, balance, saturation, and visual direction.
The repetition of frames, orbits, nervous lines and circular cores generates a grammar of its own recognizable throughout the series. It is not a matter of accident nor pure automatism, but of an investigation into how to translate thought, tension and sensitivity into a contemporary pictorial writing.
Acrylic paint here replaces part of the rigidity of technical drawing with a more bodily and physical presence. The work is no longer only built: it also happens. The stroke preserves the memory of movement, of time and of the direct gesture, always maintaining the same visual seal that defines the whole of the research.
These pieces oscillate between:
drawing and painting,
control and expansion,
architecture and automatism,
writing and abstraction.
The result is a series that proposes its own visual language, 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 permanent transformation.
