Sergio Romero - Entrelazamiento 5






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Sergio Romero, Entrelazamiento 5, original acrylic painting from 2026 in expressionist abstract style, signed by hand, origin Spain, 50 × 60 cm, 300 g, sold directly by the artist, 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 fuse into a single visual language. Although at first glance they may seem impulsive or spontaneous, each one originates from a process of observation and refinement drawn from a much more architectural and precise previous work, developed over years through marker, 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 is freed, but an internal system of organization remains. Signs are repeated, paths cross, tensions balance, and space is delimited by an invisible architecture that sustains the entire composition.
Each work functions like a moving mental map: layers of memory, impulses, paths, and emotional structures that coexist within a single plane. The apparent chaos is pierced through by conscious decisions about density, void, balance, saturation, and visual direction.
The repetition of frames, orbits, nerve lines, and circular cores generates a grammar recognizable throughout the series. It is not a matter of coincidence or pure automatism, but of an investigation into how to translate thought, tension, and sensitivity into a contemporary pictorial writing.
Acrylic paint replaces here part of the rigidity of technical drawing with a more corporeal and physical presence. The work is no longer only constructed: it also happens. The stroke preserves the memory of movement, of time, and of direct gesture, always maintaining the same visual stamp that defines the whole of the investigation.
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 perpetual transformation.
This work is part of a recent pictorial investigation in which automatic gesture, spatial structure, and symbolic repetition fuse into a single visual language. Although at first glance they may seem impulsive or spontaneous, each one originates from a process of observation and refinement drawn from a much more architectural and precise previous work, developed over years through marker, 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 is freed, but an internal system of organization remains. Signs are repeated, paths cross, tensions balance, and space is delimited by an invisible architecture that sustains the entire composition.
Each work functions like a moving mental map: layers of memory, impulses, paths, and emotional structures that coexist within a single plane. The apparent chaos is pierced through by conscious decisions about density, void, balance, saturation, and visual direction.
The repetition of frames, orbits, nerve lines, and circular cores generates a grammar recognizable throughout the series. It is not a matter of coincidence or pure automatism, but of an investigation into how to translate thought, tension, and sensitivity into a contemporary pictorial writing.
Acrylic paint replaces here part of the rigidity of technical drawing with a more corporeal and physical presence. The work is no longer only constructed: it also happens. The stroke preserves the memory of movement, of time, and of direct gesture, always maintaining the same visual stamp that defines the whole of the investigation.
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 perpetual transformation.
