Rómulo Celdrán

Rómulo Celdrán

Masterful precision elevates the ordinary, exploring how formal execution and conceptual inquiry transform everyday objects into extraordinary artistic statements.

Exhibitions

Blossoming & Digital Tenebrism

Blossoming & Digital Tenebrism

2025

S Gallery. Madrid. España

Eneas

Eneas

2025

Eneaverso & S Gallery. Madrid. España

Blossoming 2 I

Available work

Blossoming 2 I

Acrílico, Tinta, Lápiz de color on tablero, 120 x 120 cm

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Blossoming

In times of hypertechnology and Artificial Intelligence, Blossoming is something of a tribute to Nature and natural beauty. A reminder of our condition as natural beings and our dialogue with Nature as observers. Flowers are much more than decorative natural objects; they are elements through which Nature expands and perpetuates itself. A perfect machinery of attraction and functionality dedicated to the replication of life. Humanity has felt a historical fascination for their beauty and diversity, making them part of their domestic environment, their rituals, their scientific interest, their romantic interactions, … With Blossoming, I try to build a new and committed gaze towards these marvelous natural objects with the sole intention of admiring their beauty, their mathematical patterns, the delicate structure of their parts, and to try to overcome their more traditional and decorative connotations.

7 works in the series

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Blossoming 2 I

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Rómulo Celdrán is a visual artist who stands out for his mastery of detail in service of his profound capacity for reflection on art. His technical precision materializes a sublime exploration of light, volume, and texture, creating pieces that invite contemplation of the represented object and question whether the value of these works lies in how (formal) they are made or in why (conceptual) they are made. Rómulo proposes that thanks not only to the 'what', but also to the 'how' and the 'why', an object from our daily life, when decontextualized, can be transformed into an extraordinary artistic object of greater value than if one were only concerned with the 'why', that is, decontextualizing the object (the 'what') without further concern for its formal presentation. This theoretical reflection leads to the inevitable logical conclusion that the formal (the 'how') adds value to the artistic object and therefore, his work denies the thesis that the idea (the 'why') is the only important thing, separating himself and reflecting negatively on the prevailing current of artistic philosophy that governs art today.

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