Sergio Romero - Hidden Frequencies






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Sergio Romero, an original acrylic painting titled Hidden Frequencies, 2026, 54 × 81 cm, hand-signed, in excellent condition, from Spain, sold directly by the artist, period after 2020.
Description from the seller
This work is part of a recent pictorial investigation in which automatic gesture, spatial structure, and symbolic repetition come together into a single visual language. Although at first glance they may seem impulsive or spontaneous, each one arises from an observation and refinement process derived from a much more architectural and precise earlier work, developed over years with marker, linear drawing, and manual construction of space.
In this new series, that precision does not disappear: it transforms.
The line stops behaving solely as contour or structure and begins to act as energy, rhythm, and physical expansion on the surface. The gesture is unleashed, but an internal system of organization remains. The signs repeat, the paths cross, the tensions balance, and the space is bounded by an invisible architecture that sustains the whole composition.
Each work functions as a moving mental map: layers of memory, impulses, routes, and emotional structures coexisting on the same plane. The apparent chaos is threaded with conscious decisions about density, emptiness, balance, saturation, and visual direction.
The repetition of frames, orbits, neural lines, and circular cores generates a recognizable grammar across the series. This is not an accident or pure automatism, but 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 just built: it also happens. The stroke preserves the memory of movement, of time, and of direct gesture, always keeping the same visual signature that defines the whole body of the investigation.
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 come together into a single visual language. Although at first glance they may seem impulsive or spontaneous, each one arises from an observation and refinement process derived from a much more architectural and precise earlier work, developed over years with marker, linear drawing, and manual construction of space.
In this new series, that precision does not disappear: it transforms.
The line stops behaving solely as contour or structure and begins to act as energy, rhythm, and physical expansion on the surface. The gesture is unleashed, but an internal system of organization remains. The signs repeat, the paths cross, the tensions balance, and the space is bounded by an invisible architecture that sustains the whole composition.
Each work functions as a moving mental map: layers of memory, impulses, routes, and emotional structures coexisting on the same plane. The apparent chaos is threaded with conscious decisions about density, emptiness, balance, saturation, and visual direction.
The repetition of frames, orbits, neural lines, and circular cores generates a recognizable grammar across the series. This is not an accident or pure automatism, but 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 just built: it also happens. The stroke preserves the memory of movement, of time, and of direct gesture, always keeping the same visual signature that defines the whole body of the investigation.
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.
