Sergio Romero - Entrelazamiento






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Entrelazamiento is an original acrylic painting by Sergio Romero, 50 × 60 cm, 300 g, created in 2026, signed by hand, from Spain, produced after 2020, sold directly by the artist and in excellent condition.
Description from the seller
This work is part of a recent pictorial investigation in which automatic gesture, the 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 using marker, linear drawing, and the 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 there remains an internal system of organization. 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 the same plane. The apparent chaos is traversed by conscious decisions about density, emptiness, 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 a matter of accident nor pure automatism, but an investigation into how to translate thought, tension, and sensitivity into a contemporary pictorial writing.
Acrylic paint here substitutes 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 maintaining the same visual mark 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 investigation in which automatic gesture, the 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 using marker, linear drawing, and the 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 there remains an internal system of organization. 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 the same plane. The apparent chaos is traversed by conscious decisions about density, emptiness, 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 a matter of accident nor pure automatism, but an investigation into how to translate thought, tension, and sensitivity into a contemporary pictorial writing.
Acrylic paint here substitutes 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 maintaining the same visual mark 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.
