Sergio Romero - Entrelazamiento 4






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Original acrylic painting Entrelazamiento 4 by Sergio Romero, 50 by 60 cm, hand-signed, created in 2026, in excellent condition, from Spain, sold directly by the artist, in the abstract expressionism style.
Description from the seller
This work forms part of a recent pictorial investigation in which automatic gesture, spatial structure, and symbolic repetition converge into a single visual language. Although at first glance they may seem impulsive or spontaneous, each originates from a process of observation and refinement derived from a much more architectural and precise previous piece, developed for years through felt-tip pen, 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 frees itself, yet an internal system of organization remains. Signs repeat, paths cross, tensions balance, and space is delimited by an invisible architecture that sustains the entire composition.
Each work functions as a moving mental map: layers of memory, impulses, paths, and emotional structures that coexist within a single plane. The apparent chaos is threaded through by conscious decisions about density, void, balance, saturation, and visual direction.
The repetition of frames, orbits, nerve-like lines, and circular cores generates a recognizable grammar across the entire series. It is not a matter of accident or pure automatism, but an investigation into how to translate thought, tension, and sensitivity into a contemporary pictorial handwriting.
Acrylic paint here replaces part of the rigidity of technical drawing with a more bodily, physical presence. The work is no longer only 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 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 offers a distinct 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 forms part of a recent pictorial investigation in which automatic gesture, spatial structure, and symbolic repetition converge into a single visual language. Although at first glance they may seem impulsive or spontaneous, each originates from a process of observation and refinement derived from a much more architectural and precise previous piece, developed for years through felt-tip pen, 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 frees itself, yet an internal system of organization remains. Signs repeat, paths cross, tensions balance, and space is delimited by an invisible architecture that sustains the entire composition.
Each work functions as a moving mental map: layers of memory, impulses, paths, and emotional structures that coexist within a single plane. The apparent chaos is threaded through by conscious decisions about density, void, balance, saturation, and visual direction.
The repetition of frames, orbits, nerve-like lines, and circular cores generates a recognizable grammar across the entire series. It is not a matter of accident or pure automatism, but an investigation into how to translate thought, tension, and sensitivity into a contemporary pictorial handwriting.
Acrylic paint here replaces part of the rigidity of technical drawing with a more bodily, physical presence. The work is no longer only 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 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 offers a distinct 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.
