Romulo Bandeira's work is multifaceted, without an artistic affiliation that substantiates the totality of his work. Even so, in any of his series, despite the initial differences, it is always possible to identify aesthetic behaviors that share the same intention. Over the years of self-taught practice, the artist who began on the streets also made paintings, drawings, engravings, collages, illustrations, installations and sceneries. Sometimes referring explicitly to activism, sometimes presenting a network of distinct mental meanings, his art is characterized by an art that is not marked by single themes, nor is it limited to certain techniques or styles. In his practice, he used the platforms available to a peripheral region that initially lacked many resources to set up a possible studio. Currently, with the sale of works and selection in cultural notices and awards, he has a structure that allows him to go further. Even so, he chooses to remain faithful to the idea of subverting any hierarchy of the resources he uses. “I am a peripheral heart that experiences the images of the mind”, making it clear that he is not limited to styles and aesthetic races. Restless, he became aware of the existential and healing meaning in abstract painting in 2014, a movement that he considers the real beginning of his journey of artistic research, when he began to exercise a multidisciplinary pictorial thought, challenging his personal paradigms about the various means of composition and image formation. Subverting reasons, and consequently the fear of exploring different vocabularies through his art, Romulo Bandeira assumes the dysfunction and potential of his creations. The result is a vast inventory of images from his internal archive, which refer to the places he has lived and the stories and people he has lived with. The way he expresses his experiences is marked by a mental pattern diagnosed in childhood; Romulo has Attention Deficit Hyperactivity Disorder of the combined type, a characteristic that gives an unusual meaning to his work. His desire to bring to light his secretive meanings is latent, in a kind of consecration of the external and internal world, a capacity that makes him seem like many. The disagreement between his series is a consequence of his way of making and thinking about the world, in a movement that frustrates the expectations of those who expect an exaltation of his past and his peripheral condition. On the contrary, through various means the artist clings to the present time, adhering to a contemporary Latin American genesis. However, this defense does not prevent him from being recognized as a Brazilian man who uses art as a platform for his deconstruction within the current paradigm, in the permanent movement of interference in the colonial structures internalized in his subjectivity as a colonized person. Thus, both the artist and his work demarcate his territory of origin, calling upon the imagination of others to imprint their meanings, thus expanding his symbolic home. Mariana Guimarães dos Santos, journalist and specialist in project evaluation.