Sergio Romero - Entrelazamiento 2






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Sergio Romero presents Entrelazamiento 2, an original acrylic painting from 2026, hand signed, produced in Spain, measuring 50 × 60 cm and weighing 300 g, in excellent condition.
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 architectural and precise previous 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 also as energy, rhythm, and physical expansion on the surface. The gesture is freed, 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 entire composition.
Each work functions as a mental map in motion:
layers of memory, impulses, paths, and emotional structures that coexist within a single plane. Apparent chaos is threaded through by conscious choices 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 throughout the series. It is not about accident or pure automatism, but about an inquiry into how to translate thought, tension, and sensitivity into a contemporary pictorial writing.
Acrylic paint here substitutes part of the rigidity of technical drawing for a more corporeal 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 signature that defines the whole 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 architectural and precise previous 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 also as energy, rhythm, and physical expansion on the surface. The gesture is freed, 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 entire composition.
Each work functions as a mental map in motion:
layers of memory, impulses, paths, and emotional structures that coexist within a single plane. Apparent chaos is threaded through by conscious choices 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 throughout the series. It is not about accident or pure automatism, but about an inquiry into how to translate thought, tension, and sensitivity into a contemporary pictorial writing.
Acrylic paint here substitutes part of the rigidity of technical drawing for a more corporeal 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 signature that defines the whole 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.
