Sergio Romero - Entrelazamiento 10





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Sergio Romero, Entrelazamiento 10, an original acrylic painting created in 2026, measuring 50 × 73 cm, hand-signed, in excellent condition, originating from Spain and sold directly by the artist.
Description from the seller
This work is part of a recent pictorial investigation in which automatic gesture, spatial structure, and symbolic repetition become 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 earlier work, developed for years using markers, 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 there remains an internal system of organization. The signs repeat, the paths cross, tensions balance, and the 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 a single plane. Apparent chaos is pierced by conscious decisions about density, emptiness, balance, saturation, and visual direction.
The repetition of frames, orbits, nervous lines, and circular cores generates a grammar of its own 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 language.
Acrylic paint here replaces part of the rigidity of technical drawing with a more bodily and physical presence. The work no longer merely builds: 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 entire 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 investigation in which automatic gesture, spatial structure, and symbolic repetition become 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 earlier work, developed for years using markers, 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 there remains an internal system of organization. The signs repeat, the paths cross, tensions balance, and the 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 a single plane. Apparent chaos is pierced by conscious decisions about density, emptiness, balance, saturation, and visual direction.
The repetition of frames, orbits, nervous lines, and circular cores generates a grammar of its own 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 language.
Acrylic paint here replaces part of the rigidity of technical drawing with a more bodily and physical presence. The work no longer merely builds: 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 entire 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.

