Sergio Romero - Burning Structure






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Sergio Romero's original painting Burning Structure, created in acrylic in 2026, in excellent condition, signed by hand, origin Spain, sold directly by the artist, post-2020 period, measuring 50 by 60 cm and weighing 300 g.
Description from the seller
This work is part of a recent pictorial research 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 one arises from an observation and refinement process stemming from a much more architectural and precise previous work, developed over years with markers, 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 unleashed, but an internal system of organization continues to exist. Signs repeat, paths cross, tensions balance, and the space is delimited by an invisible architecture that sustains the entire composition.
Each work functions as a moving mental map:
layers of memory, impulses, routes, and emotional structures that coexist within the same plane. The apparent chaos is traversed by conscious decisions about density, void, balance, saturation, and visual direction.
The repetition of frames, orbits, nerve lines, and circular cores generates a grammar of its own recognizable throughout the series. This is not a matter of 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 merely built: it also happens. The stroke preserves the memory of movement, of time, and of direct gesture, always maintaining the same visual signature that defines the entire body 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 research 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 one arises from an observation and refinement process stemming from a much more architectural and precise previous work, developed over years with markers, 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 unleashed, but an internal system of organization continues to exist. Signs repeat, paths cross, tensions balance, and the space is delimited by an invisible architecture that sustains the entire composition.
Each work functions as a moving mental map:
layers of memory, impulses, routes, and emotional structures that coexist within the same plane. The apparent chaos is traversed by conscious decisions about density, void, balance, saturation, and visual direction.
The repetition of frames, orbits, nerve lines, and circular cores generates a grammar of its own recognizable throughout the series. This is not a matter of 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 merely built: it also happens. The stroke preserves the memory of movement, of time, and of direct gesture, always maintaining the same visual signature that defines the entire body 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.
