Umberto Bignardi
Paola Di Bello
Gioia Di Girolamo
Ditte Ejlerskov 
Elena El Asmar
          Ori Gersht
          Mishka Henner
Ugo La Pietra
          Jonas Lund
Lolo & Sosaku 
Pedro Matos
          Chris Rocchegiani
Fausta Squatriti






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via Lecco 20,
20124 Milan Italy
ph +39 02 22228336

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Pedro Matos (b. 1989) lives and works in Lisbon. He studied at Central Saint Martins, University of the Arts London and al Ar.Co - Centro de Arte e Comunicação Visual.  

He has exhibited in several international shows: Galleria Bianconi (Milan), Pal Project & The Dot Project (Paris, France); Galeria Presença (Porto - Portugal); Galeria Underdogs (Lisbon – Portugal); Galerie Clemens Gunzer (Austria);  Hawaii-Lisbon at Balcony Contemporary Art Gallery (Lisbon – Portugal); Basment, Esquina (Lisbon – Portugal); Artist Book Gallery - Galeria Nuno Centeno (Porto -  Portugal); The Saatchi Gallery (London, United Kingdom) (cat.); FF Projects ( San Pedro – Mexico); Kristin Hjellegjerde Gallery (London, United Kingdom);  Interior Motive(s) - MPV Gallery (Den Bosch, The Netherlands); Workbench International (Milan, Italy); The Bech Risvig Collection - Huset for Kunst og Design (Holstebro, Denmark);  Galeria Boavista (Lisbon, Portugal);  Museu do Côa, (Vila Nova de Foz Coa, Portugal); Gallery Wrong Weather (Porto, Portugal);  Bid Project, (Milan, Italy);  (De)Nature, Curated by Pauline Foessel – (Comporta, Portugal);  National Army Museum, (London, United Kingdom);  The Goss-Michael Foundation (Dallas, USA);  University of Arizona Museum of Art (Arizona, USA).

His work has been included in several collections internationally: National Army Museum (London, United Kingdom); Guarda Museum (Guarda, Portugal); Biblioteca Nacional de Portugal (Lisbon, Portugal); MARCC Museum (Cascais, Portugal); Bech Risvig Collection (Aarhus, Denmark).

Before even initiating any kind of pictorial gesture, Pedro Matos acts as a collector of images. He photographs, steals and receives graffiti images as references. Selected work generates the raw material, later manipulated on software then projected on canvas. The digital imagery hence becomes the incipit of the pictorial gesture and influences the experience of the work. When we’re gone, displays melted surfaces of zoomed, almost cryptic graphic inscriptions. The works of Pedro Matos are the result of his online and offline explorations where memories, liquefied by painting, ends up oscillating between capturing and disembodying materiality. The source image experiences spread and loss of information throughout each step of the creative process. Therefore the narrative is not so much focused on the nature of the inscriptions but rather on their asperities and their common intentions to manifest a presence, a moment, a passage. Yet here the “uniqueness of existence”1 disintegrates, the hic and nunc2 is diluted into a more ambiguous and contemplative context, intentionally more vaporous.

The work of Pedro Matos is rooted in the existing porosity between abstraction and representation, one always on the edge of the other, to invest a contemplative feeling. It is this material from reality, underestimated and neglected, that becomes a relic of the ordinary. Paradoxically, it is not after nature but from the image that the pictorial gesture exceeds the time that flows between the initial fleeting gesture and the image, capturing its already abstract decay. What might seem to be hesitating between the figurative and its opposite resolve itself in a painting with a more metaphysical sentiment.

- excerpt from a text by SCANDALE Project (Lucie & Fiona)

1. BENJAMIN, Walter. The work of art in the age of mechanical reproduction. Penguin UK, 2008.

2. Ibidem.

Untitled (SEXSARA),  2020
Acrlylic enamel on canvas
180 × 160 cm

Untitled (THROWUP), 2020
Acrlylic enamel on canvas
180 × 160 cm

Untitled (BAR), 2020
Acrlylic enamel on canvas
180 × 160 cm


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