Sergio Romero - Entrelazamiento 3






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Sergio Romero, Entrelazamiento 3, an original acrylic painting in abstract expressionist style, created in 2026, 50 × 60 cm, 300 g, hand-signed, made in Spain, sold directly by the artist, post-2020 period.
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 drawn 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 freed, but there is still an internal system of organization. Signs repeat, paths cross, tensions balance and the space is delimited by an invisible architecture that holds the whole composition.
Each work functions as a moving mental map: layers of memory, impulses, paths and emotional structures that coexist within the same plane. The apparent chaos is crossed 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. It is not a matter of accident or pure automatism, but of an investigation into how to translate thought, tension and sensitivity into a contemporary pictorial script.
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 the 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 drawn 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 freed, but there is still an internal system of organization. Signs repeat, paths cross, tensions balance and the space is delimited by an invisible architecture that holds the whole composition.
Each work functions as a moving mental map: layers of memory, impulses, paths and emotional structures that coexist within the same plane. The apparent chaos is crossed 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. It is not a matter of accident or pure automatism, but of an investigation into how to translate thought, tension and sensitivity into a contemporary pictorial script.
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 the 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.
