Sergio Romero - Entrelazamiento 7






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Sergio Romero presents Entrelazamiento 7, an original acrylic painting (2026) from Spain, signed by hand, 50 × 73 cm, 300 g, in excellent condition.
Description from the seller
This work forms part of a recent pictorial research in which automatic gesture, spatial structure, and symbolic repetition converge into a single visual language. At first glance they may seem impulsive or spontaneous, but each one arises from a process of observation and refinement derived 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 stops behaving solely as contour or structure and begins to act also as energy, rhythm, and physical expansion on the surface. The gesture is liberated, but an internal system of organization still exists. 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, routes, and emotional structures that coexist within the same plane. The apparent chaos is traversed by conscious decisions about density, void, balance, saturation, and visual direction.
The repetition of frames, orbits, neural lines, and circular cores generates a distinctive grammar recognizable throughout the 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 writing.
Acrylic paint here replaces part of the rigidity of technical drawing with a more bodily, 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 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 forms part of a recent pictorial research in which automatic gesture, spatial structure, and symbolic repetition converge into a single visual language. At first glance they may seem impulsive or spontaneous, but each one arises from a process of observation and refinement derived 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 stops behaving solely as contour or structure and begins to act also as energy, rhythm, and physical expansion on the surface. The gesture is liberated, but an internal system of organization still exists. 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, routes, and emotional structures that coexist within the same plane. The apparent chaos is traversed by conscious decisions about density, void, balance, saturation, and visual direction.
The repetition of frames, orbits, neural lines, and circular cores generates a distinctive grammar recognizable throughout the 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 writing.
Acrylic paint here replaces part of the rigidity of technical drawing with a more bodily, 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 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.
