Blixa Bargeld’s Echo in Paint: A Bold Exploration by the Romano Twins
In today’s world, where visuals often prioritize style over substance, Nil and Karin Romano’s work stands out. Their art feels like a haunting echo—a conversation between sound and sight that lingers long after you’ve looked away.
Their latest series, From the Bottom of My Shapeless Soul, dives deep into themes of identity, intimacy, and the fractured nature of modern life.
Inspired by Blixa Bargeld’s song of the same name, the series doesn’t mimic lyrics or melodies but channels the music’s spirit.
Dominique Catherina Foertig
What a progress - Nil and Karin Romano
The rhythm of the song seems to ripple through the twisted figures, textured layers, and fragmented stories in their paintings.
At first glance, their work might seem chaotic—a clash of colors, shapes, and gestures.
But take a moment, and you’ll notice the precision behind the apparent disorder.
This isn’t random; it’s controlled energy, crafted to look spontaneous. The paintings seem alive, as if frozen mid-motion, with figures caught between transformation and stasis.
Their expressions hover on the edge of anguish and joy, creating a tension that refuses easy interpretation.
The twins themselves are ever-present in the work. In some pieces, they’re clearly depicted—protagonists and observers of their narratives.
In others, their forms dissolve into abstractions, like puzzles with missing pieces. This self-representation isn’t self-indulgent; it’s a reflection of their exploration of subjectivity.
By including themselves in their art, Nil and Karin remind us that neither artist nor viewer can fully separate from the act of creation or interpretation.
Nil and Karin Romano: (left) Living In A Bubble, 122X154cm,2024, Acrylic On Canvas (right) I Shed Countless Pearls Over You, 105X148cm,2024,Acrylic On Canvas | Image Courtesy of the Artist
When you look at their work, you’re not just observing—you’re part of the story.
Their color palette is equally expressive, swinging from acidic yellows to deep blues and sharp reds.
The bold strokes and vivid contrasts echo the emotional depth of the pieces.
Yet, amid the bold gestures, you’ll find meticulous details—a carefully rendered strand of hair, the glint of light on shattered glass.
These moments of precision anchor the works, grounding their surreal energy in something tangible.
The series thrives on contrast, balancing complexity with raw emotion.
Take Living in a Bubble, for instance, where a figure seems trapped in a small, suffocating bathroom.
The space feels both intimate and oppressive, the figure caught between defense and longing. It’s a snapshot of modern alienation, painted with a directness that’s hard to ignore.
Then there’s From the Bottom of My Shapeless Soul, I’m Smiling Anyway, which acts as an emotional cornerstone for the series.
Figures emerge from tangled lines and flames, their faces obscured but their gestures strikingly human.
The painting captures the push and pull between resilience and despair, a quiet defiance against life’s challenges. It doesn’t scream; it whispers with strength.
What makes the Romano twins’ work so engaging is its emotional immediacy.
Their influences, like Bargeld’s music, are present but never overpowering. Instead, they guide the tone without dictating it, leaving room for personal interpretation.
There’s also a touch of dark humor—a wink amid the intensity. In Noise Party, for example, figures dance and stumble in a bizarre, checkerboard scene that feels part dream, part nightmare.
It’s a little absurd, a little unsettling, and entirely captivating.
The Romano twins also bring a sense of cultural weight to their work. Their Israeli heritage isn’t explicitly highlighted but comes through in the layers of history and dislocation within their themes.
They weave the personal with the universal, making their art both deeply specific and widely relatable. It’s a delicate balance that shows their maturity as artists, even early in their careers.
What ultimately sets this series apart is its refusal to offer simple answers. The paintings invite you in, asking you to engage and think.
They reveal themselves slowly, resisting full comprehension.
There’s always an element of mystery, an unanswered question that lingers—a reminder that art, like life, often finds meaning in what’s left unsaid.
Nil and Karin Romano: (left) The Unbearable Lightness Of Being, 107X125cm,2024,Acrylic On Canvas (right) At Last He Was Free , 107X121cm, 2024, Acrylic On Canvas | Image Courtesy of the Artist | Image Courtesy of the Artist
Nil and Karin Romano’s From the Bottom of My Shapeless Soul feels like a conversation between the personal and the universal, the chaotic and the controlled.
Nil and KARIN ROMANO Website
It’s painting at its most alive—raw, thought-provoking, and endlessly rewarding. As the year comes to a close, their work feels like an open invitation to step into the unknown, where new stories and meanings await discovery.
Follow Nil and Karin Romano on Instagram
Member discussion