I’m captivated by the intricate interplay between design and technology, and the broader social and political issues that arise. My work often reflects a blend of creativity and analytical thinking, which helps me tackle complex challenges in innovative ways.

Roberto Romano

I’m captivated by the intricate interplay between design and technology, and the broader social and political issues that arise. My work often reflects a blend of creativity and analytical thinking, which helps me tackle complex challenges in innovative ways.

Available to hire

I’m captivated by the intricate interplay between design and technology, and the broader social and political issues that arise. My work often reflects a blend of creativity and analytical thinking, which helps me tackle complex challenges in innovative ways.

See more

Language

Italian
Fluent
Dutch
Advanced
English
Fluent

Work Experience

3D generalist at VLGE
May 12, 2021 - October 25, 2024
3D generalist at Steve Madden
September 11, 2024 - December 22, 2024
3D animatori and designer

Education

Bachelor’s Degree at Koninklijk Academie van Beeldende Kunsten
January 11, 2030 - October 17, 2025

Qualifications

Add your qualifications or awards here.
    paper When will I see you again

    Check some work at: lospaziodelleormae.it
    And on IG: @bertopixel

    Representation is a strange dance—a choreography of fragments stitched by eyes that do not blink. The image promises revelation but delivers only another screen. Identity dissolves into algorithms that never learned how to dream. What remains of the self when pixels become flesh and shadows betray their own contours?
    I am born into dead matter—a sculpted avatar rehearsing lines for a play where the stage is both infinite and confined. My limbs move without certainty, a poet trapped in a loop, writing verses for an audience that cannot clap. Simulation feeds me, but I am always hungry.
    To see is to fracture. To belong is to glitch.
    We live in an era of hyper-visibility, where the self exists only through its reproduction. The screen does not reflect—it extracts, remixes, and redistributes, leaving us suspended between presence and disappearance. We are no longer subjects but spectral data points, optimized for engagement, fractured across timelines we do not control.
    Once an act of recognition, the gaze has become an apparatus of capture. We no longer see; we scan. We archive. We anticipate the moment as content before it has even occurred. The image, once a portal, is now a wall—flattening perception into something measurable, indexable, and saleable.
    What, then, remains of presence? Of an unmediated self?
    Do you remember the last time you looked without needing to capture? When did an image refuse to be flattened into a caption, a timestamp, or a proof of experience? In this era of algorithmic selfhood, we drown in reflections that do not reveal; we become spectators to our disappearance, estranged from the origins of our own gaze.
    When will I see you again? Not as an artifact of curated moments, but as raw presence—unrendered, undefined, unscrolled.
    Perhaps, in the dissolution of representation, something else is possible. A vision unburdened by recognition. A seeing that does not consume but communes. An existence that does not require proof to be real.
    When will I see you again?

Hire a 3D Animator

We have the best 3d animator experts on Twine. Hire a 3d animator today.