Sergio Romero - Solar Noise






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Sergio Romero presents Solar Noise, an original acrylic painting in a 50 × 60 cm format, hand-signed, in excellent condition, from Spain, sold directly by the artist, created in 2026 and post-2020, in the abstract expressionism style.
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 one arises from a process of observation and refinement derived from a much more architectonic and precise previous work, developed for years using 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 also as energy, rhythm, and physical expansion on the surface. The gesture is released, 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 whole composition.
Each work functions as a mental map in motion: layers of memory, impulses, routes and emotional structures that coexist within the same plane. The apparent chaos is threaded through by conscious decisions about density, vacancy, balance, saturation, and visual direction.
The repetition of frames, orbits, nerve lines and circular cores generates a grammar of its own recognizable across the series. It is not about accident nor pure automatism, but about 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 retains the memory of movement, of time, and of 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. Although at first glance they may seem impulsive or spontaneous, each one arises from a process of observation and refinement derived from a much more architectonic and precise previous work, developed for years using 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 also as energy, rhythm, and physical expansion on the surface. The gesture is released, 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 whole composition.
Each work functions as a mental map in motion: layers of memory, impulses, routes and emotional structures that coexist within the same plane. The apparent chaos is threaded through by conscious decisions about density, vacancy, balance, saturation, and visual direction.
The repetition of frames, orbits, nerve lines and circular cores generates a grammar of its own recognizable across the series. It is not about accident nor pure automatism, but about 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 retains the memory of movement, of time, and of 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.
