Sergio Romero - Entrelazamiento 6






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Sergio Romero presents Entrelazamiento 6, an original 2026 acrylic painting in abstract expressionist style, measuring 50 × 60 cm, weighing 300 g, signed by hand, produced in Spain and sold directly by the artist.
Description from the seller
This work is part of a recent pictorial research 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 arises from a process of observation and refinement drawn from a much more architectural and precise earlier 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 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 an internal system of organization continues to exist. Signs are repeated, paths cross, tensions balance, and the space is delineated by an invisible architecture that sustains the entire composition.
Each work functions as a mental map in motion: layers of memory, impulses, routes, and emotional structures coexisting within a single 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 recognizable grammar across the whole 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 writing.
Acrylic paint replaces here part of the rigidity of technical drawing with a more bodily and physical presence. The work is no longer merely 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 research 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 arises from a process of observation and refinement drawn from a much more architectural and precise earlier 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 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 an internal system of organization continues to exist. Signs are repeated, paths cross, tensions balance, and the space is delineated by an invisible architecture that sustains the entire composition.
Each work functions as a mental map in motion: layers of memory, impulses, routes, and emotional structures coexisting within a single 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 recognizable grammar across the whole 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 writing.
Acrylic paint replaces here part of the rigidity of technical drawing with a more bodily and physical presence. The work is no longer merely 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.
