Saatchi Gallery, London United Kingdom, 2018
Kristin Hjellegjerde Gallery, London, United Kingdom, 2018
Eduardo Secci Contemporary, Florence, Italy, 2018
A series of paintings exhibited at group exhibitions in London and Florence.
(…) In his Untitled (Carving) series of paintings, Pedro Matos references the messages and carvings we find in our urban spaces, from city walls to public stairwells and bathroom stalls. They reflect the immediacy of a moment – “a love story or simply expressing identity,” he says. However, where carving and graffiti have an ephemeral element to them – where they can be covered up, eroded or swept and washed away off walls, in these paintings, he gives them a permanence by bringing abstract and fleeting messages into a concrete form. “I think this work, and the works in this exhibition share an appreciation for the usually overlooked and underappreciated, then reinterpreted and brought into a new context and meaning, both visually and conceptually,” Matos says. (…)
Excerpt from Kristin Hjellegjerde Gallery
Beneath The Surface
Beneath the Surface tackles the issues concerning the image, from its creation to its distinctiveness, as well as the dynamics of its transmission and the concrete integration within a support. More specifically, through painting, the works by the two authors question the expressive possibilities that emerge from the interactions implicated by environmental contexts and the media. In such a process, the observation and the causality of both the stimulus and of interactions gains vital importance; a state in which we're not drawn to understand the differences between high and low registry, between personal and universal, between intelligible content and hermetic form. The exhibit's works document how the artwork – an image in itself – is the final and distilled form of the infinite possibilities that appear during a constant process of selection, rejection and metamorphosis.
The works on canvas by Pedro Matos portray several blown-up images of incisions, casually noticed on walls, wooden doors, school desks and trees. These marks, at times barely comprehensible, are normally seen and then instantaneously forgotten due to their lack of visual syntax and real contents of interest: they're scraps, relics left by someone before us. Matos incorporates these visual clusters on the surface, using these marks to create a painting that apparently lacks both a subject and syntax, and is characterized by a sense of metaphysical suspension. (…)
Text by Daniele Capra.