Sergio Romero - Entrelazamiento 9






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Sergio Romero presents Entrelazamiento 9, an original acrylic painting by the artist, dated 2026, hand-signed, in excellent condition, originated in Spain and sold directly by the artist, post-2020, measuring 50 × 73 cm and weighing 300 g in the abstract expressionist style.
Description from the seller
This work is part of a recent pictorial research 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 derived from a much more architectural and precise previous work, developed for years through 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 released, yet an internal system of organization remains. Signs repeat, paths cross, tensions balance, and the space is delimited by an invisible architecture that sustains the entire composition.
Each work functions like a moving mental map: layers of memory, impulses, routes, and emotional structures that coexist within the same plane. The apparent chaos is threaded through by conscious decisions about density, emptiness, 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. This is not about accident or pure automatism, but about 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 corporal and physical presence. The work is no longer just built: it also happens. The stroke preserves the memory of movement, time, and the direct gesture, always maintaining the same visual signature that defines the whole 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 a language of its own, 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 continual transformation."} } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } }} } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } }
This work is part of a recent pictorial research 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 derived from a much more architectural and precise previous work, developed for years through 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 released, yet an internal system of organization remains. Signs repeat, paths cross, tensions balance, and the space is delimited by an invisible architecture that sustains the entire composition.
Each work functions like a moving mental map: layers of memory, impulses, routes, and emotional structures that coexist within the same plane. The apparent chaos is threaded through by conscious decisions about density, emptiness, 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. This is not about accident or pure automatism, but about 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 corporal and physical presence. The work is no longer just built: it also happens. The stroke preserves the memory of movement, time, and the direct gesture, always maintaining the same visual signature that defines the whole 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 a language of its own, 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 continual transformation."} } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } }} } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } }
