Profile
 Román De Lorenzo is a Spanish creative director and visual artist working at the intersection of fashion, visual culture, and digital environments. As the founder of MURPH, a Madrid-based studio, his practice focuses on shaping contemporary brand narratives through a language that merges aesthetics, communication, and cultural positioning.

With a background rooted in strategy and creative direction, De Lorenzo has collaborated with global brands such as Gucci, Burberry, Nike, or Inditex, developing projects that operate across campaigns, editorial platforms, and digital ecosystems. 

His work is characterized by a sensitivity to image-making and its role within a global cultural field, where fashion, media, and art converge. Moving fluidly between disciplines, his practice explores how visual narratives can construct identity, desire, and contemporary modes of perception.


Photography by Carlos Sempere


Exhibitions
(upcoming) Jade Paris
Imágenes by Felipe Escudero and Román de Lorenzo
Sept - Dec 2026

Palenqe Madrid 
Imágenes by Felipe Escudero and Román de Lorenzo
June 2026

Alcova Milano
Imágenes by Felipe Escudero and Román de Lorenzo
April 2026


Isola Milano
Imágenes by Felipe Escudero and Román de Lorenzo
April 2026

Awards and Recognitions
UE - European University Madrid
Awards host and Curator 2026

Princep de Girona 
Links book for Entrepreneurial recognition
Recent Press
Imágenes by Felipe Escudero and Román de Lorenzo 
Neo 2
2026

Imágenes by Felipe Escudero and Román de Lorenzo 
VEINTICINCO
2026

Imágenes by Felipe Escudero and Román de Lorenzo 
Vogue Poland
2026               

Román de Lorenzo

   Creative Director and Visual Artistroman@murph.eu , @roman.delorenzo
IMÁGENES
collaboration with Felipe Escudero
April 2026 Fiberglass, polished resin, and steel
Dimensions: 180x60x60com
Wonder cabinet
Scroll in pease chair or Protocol of confortability 
Critical tap and False Locker
Scroll in pease chair or Protocol of confortability 
Diferent pieces 
Non-Silverwear 



Blending free-form sculpture with hyperfunctional design, Imágenes is a series of seven everyday objects that, assembled into a puzzle, reveal questions around contemporary life, including pharmaculture, cybersecurity, and consciousness. The installation combines soft and hard scultpure to turn the negative into positive.

This series explores a return to primordial creation, where objects act as symbols beyond function. Using everyday elements transformed in scale and context, the works reveal hidden tensions of contemporary life, merging the spiritual, aesthetic, and industrial into minimal forms.


Here, artistic practice is conceived as a return. Not to a specific place, but to an initial point: a moment when forms were not yet definitions, but premonitions. A stage prior to language, where a small object, a model, an amulet, a fragment; could contain a complete intuition of the world.


As this practice expands across disciplines: architecture, fashion, technology; more rigid structures appear: method, function, learned aesthetics, efficiency. Yet beneath them, a more persistent impulse remains: the need to create symbols that connect with what cannot be seen, but sustains everything.

A drive that precedes utility, the market, and optimization. This collaboration returns to that core. To the minimal that holds the immense. To the miniature as a device for inner opening. To form that, without naming, evokes.


The works emerge from a shared dialogue between the two artists, inhabiting a subtle space where form becomes a common language. A place where the spiritual, the aesthetic, and the imaginary are not separate, and where an object can be architecture, flower, mechanism, or ritual, while maintaining the same underlying pulse.
 Through a deliberate economy of means, each piece seeks to remove the unnecessary—objects that, in their minimal scale, hold the possibility of something greater.

Palenqe - Madrid Exhibition
Palenqe - Madrid Exhibition ( Almudena Pedreño’s jar)
Palenqe - Madrid Exhibition
Palenqe - Madrid Exhibition
Broken Lismosges 
July 2026
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Broken Royal Limosges Tablewear composed and polished 

Vase made from cut and reassembled Royal Limoges porcelain pieces.

By fragmenting and recomposing existing objects, the work transforms traditional porcelain into a new sculptural body. Traces of their original function and craftsmanship remain visible, creating a tension between destruction and preservation, heritage and transformation.
RELIQUIA
January 26
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3.2
The Greek amphora is one of the earliest cultural objects conceived as a vessel for both material substance and narrative. While its original purpose was to store wine, oil, or grain, it eventually became a medium for preserving stories and the mythologies of collective identity.

*Projection*, dissolves this function. The physical object no longer exists—only its function remains. An image generated by artificial intelligence is projected onto a white polystyrene surface raised on a pedestal, replacing ceramic with light itself; an inversion of the noble and the disposable that seeks to function as an archaeological remnant of the present day. If value once resided in the material and the enduring, today it has shifted toward the intangible and the provisional.
Silver arragement
Sept 25
AI generation from organic drawing 
and photography

3.1
3.2
3.3
Phisical Digitalzation
August 25
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Photography over AI generated aimges from 
drawing and photography
View 2 of 2
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Fabric flowers
August 25
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Authors: Zeus Tutu & Tito Penrose
Edited by: Dusty Acres & Mitch Glitch
92pp, Hardback, 24 × 32 cm
ISBN: 978-82-697000-0-0
Printed by: Cargo® Press Ltd
3.1
3.2
3.3
Hidden map
July 25
Baiuca

Google Maps Ai illustration
Playa de Balea
Ponferrada
Los Tilos
Metal Horse
June 25
Watch with kindness

AI generation from drawing and photography

More than one 
Hypercute
Top                Román de Lorenzo -  2026