BIOGRAPHY
Pedro is originally from Portugal and moved to the UK over 29 years ago to study his passion for art. He later graduated from Chelsea College of Art and Design in 1997. He continued his second degree in 2011 in Abstract Vision and Expressionism at Kensington and Chelsea Art College University.
In Pedro’s work, you can see the evolution in his dialogue with colours and geometry, despite his preferences for contemporary artists like Francis Bacon and Ben Nickolson. His reminiscence comes from the “neoplasticism” of Mondrian, Robert Rauschenberg, and in some way, Picasso. Still, the most crucial influence of Pedro’s creativity is Ben Nickolson, where Cubism has been part of his life. Only in the early part of his career, in his more recent research and studies, he combines Cubism and abstract expressionism in just one practice as he creates his works. He uses the technique of “dropping” by Pollock but with the order and sense of Rothko.
A textural tangibility is immediately evident in Pedro Sousa Louro’s work. Earthy and material-focused, an unassuming beauty is found within the play between dark woods and a muddied palette. Furthermore, geometry plays a crucial role here, as clean white lines converse with blocks of muted colour. There is an almost archival, collage-like approach to applying materials and hues. It is as if Sousa Louro has assumed the archaeologist role, unearthing forgotten history layers. Educated at Chelsea College of Arts, Sousa Louro is among the most talked-about LGBTQ artists.
Pedro has collectors around the globe, including Europe, the Middle East, India, Australia, the US, Russia and South America.
CV
2023 | Two International Collective Exhibitions Two press article magazine review One Art Magazine Interview One Art mention award
WIMBLEDON ART FAIR
FLUX EXHIBITION
GALERIA AZUR BERLIN
GALERIA AZUR MADRID
START ART GLOBAL
WIMBLEDON ART FAIR
2022 | One International Art Fair at the Saatchi Gallery One Collective Exhibition Six Months Solo Artist exhibition Two National UK Art Fairs.
BRITISH VOGUE March April May
HOUSE & GARDEN July August September VANITY FAIR May June July August October
SOLO EXHIBITION VINTNERS PLACE
WIMBLEDON ART FAIR
FLUX EXHIBITION
START ART GLOBAL
WIMBLEDON ART FAIR
2021 | Five National Collective Exhibitions One International Art Fair One Virtual Collective Exhibition One International Artwork Commissioned Two Press Gallery Exhibition Artist Mention One International Magazine Article One National Art Fair Six Months Solo Artist exhibition at the Landmark Building the Vintners Place Portuguese TV Channel news mention One Portuguese Journal news mention
TOM COX GALLERY
ABSTRACT AESTHETICS
THE BRICK LANE GALLERY
START ART GLOBAL
START PLUS
FLUX EXHIBITION
SOLO EXHIBITION VINTNERS PLACE
2020 | Two National Artworks Commissioned Three International Art Fairs Two International Exhibitions Two Art Awards One Media Interview Two Magazines Publications Two Media Articles Two Catalogue Mentions.
COLLECTIVE ART SHOW
AFFORDABLE ART FAIR MILAN
SALONS D’ART CONTEMPORAIN
START ART GLOBAL
COLLECTIVE ART SHOW
2019 | Four National Exhibitions One International Collective Exhibition One International Art Fair One National Art Fair Three Art Awards Two Magazine Publications One Media Interview Two Media articles.
EMERGING ARTIST AWARD
FLUX EXHIBITION
SUMMER SHOW
FLUX EXHIBITION
KUNST MESSE – LEIPZIG INTERNATIONAL ART FAIR
WIMBLEDON ART FAIR
COLLECTIVE ART SHOW
2018 | Two Collective Exhibitions One National Art Fair Six Months Solo Artist Exhibition at the Landmark Building the Vintners Place Two Magazines Publications Two Media Articles One Media Interview.
FLUX EXHIBITION
SOLO EXHIBITION VINTNERS PLACE
WIMBLEDON ART FAIR
FOCUS LDN
2017 | Two Collective Exhibitions One International Art Fair One National Art Fair Six Months Solo Artist Exhibition at the Landmark Building the Vintners Place Two Media articles One Media Interview One Catalogue Mention.
FOCUS LDN
FLUX EXHIBITION
PARALLAX INTERNATIONAL ART FAIR
WIMBLEDON ART FAIR
VINTNERS PLACE
2016 | Four Collective Exhibitions One National Art Fair One International Art Fair One Media Interview One Catalogue Mention One International Commission
FLUX EXHIBITION
FOCUS LDN
EMERGING ARTIST EXHIBITION
UNLEASHED EXHIBITION
WIMBLEDON ART FAIR
2015 | Five Collective Exhibitions Two International Art Fairs One National Art Fair One Media Interview One Catalogue Mention One International Commission
ARTEMAZE EXHIBITION
FLUX EXHIBITION RCA THE ROYAL COLLEGE OF ARTS.
RARE ART EXHIBITION
LE DAME ART GALLERY
FLUX EXHIBITION
ARTROOMS
PARALLAX INTERNATIONAL ART FAIR
WIMBLEDON ART FAIR
2014 | Two Collective Exhibitions One National Art Fair One International Art Fair One Catalogue Mention One Magazine Publication.
CHELSEA ARTISTS CLUB
CHELSEA BATTERSEA ARTISTS
PARALLAX INTERNATIONAL ART FAIR
WIMBLEDON ART FAIR
2013 | One International Art Fair Two Collective POP-UP
PARALLAX INTERNATIONAL ART FAIR
CHELSEA ARTIST CLUB
CHELSEA BATTERSEA ARTISTS
2012 | One International Art Fair Two Collective POP-UP
PARALLAX INTERNATIONAL ART FAIR
CHELSEA ARTIST CLUB
STATEMENT
“My artworks are all around mixed media mediums and after developing the next idea with the final vision of a painting. I started the craziness of searching and finding materials that I needed. On bases, I use wood panels, canvas, and wood with canvas sheets fixed on it, done by myself. My studio realizes all my artworks are framed with mostly only mid-century style. My conscious and unconscious visual perceptions create my paintings, which are the precise language and message I receive from my creative nervous system.
In my compositions, I also use materials such as textiles, old wood objects, old journals with prints, and old wallpapers incorporated with rustic deteriorating geometrical metal elements in each piece from a Technic that I developed over the last few years by oxidizing copper powders. I finalized each composition with combinations of letters and numeric symbols. After trying a few varieties, I found a set of numbers and letters I like seeing together. Horizontally or vertically, I incorporate straight lines in different colours to balance all compositions so I can achieve the level of abstract vision that, for me, is satisfactory, and this is where I find the beauty of the work that I was looking for and eventually make a decision to stop and then the piece is complete. I finish the piece by varnishing with yacht varnish. I may be changing the kind of varnish I’m using in the future. Still, at the moment, I can not find another way to make myself happy and secure enough to make the decision and let the artwork leave the studio and be exhibited. I’m almost addicted to this particular varnish, and it is a matter of sorting out another solution shortly.
I’m never interested in painting beautiful paintings; Let me explain; I mean the “beauty” that others find straightaway in traditional or ordinary art pieces. I do not paint these conventional paintings. I aim to develop and predesignate the facts of the creative process I have evolved over the years by focusing on architectural forms and designs from my studies and research, together with abstract geometrical visions from our cosmopolitan living. I create art through my imagination by using geometry for geometry’s sake. It is indeed my crucial creative tool and also my way to demonstrate my knowledgeable vision of other angles of beauty with different perspectives and levels to see, maybe accept and also interact with my personal abstractive geometrical visionary eye of beauty or perhaps also to find a new level of beauty through my work.”
