Matteo Mauro

Matteo Mauro was born in Sicily in 1992. In 2010, he moved to London, where he was introduced to the world of contemporary art. He studied art and architecture, graduating from University College London (UCL) in 2017. During this time, he was mentored by prominent figures including historians, artists, and designers such as Oliver Domeisen, Isaie Bloch, and Ron Arad.

Since 2016, he has refined his artistic language by exploring computational representation techniques, reinterpreting traditional, classical, and primitive engraving methods. His aluminum engravings caught the attention of critics and researchers at UCL’s research department, earning him recognition for the innovative nature of his work. In the following years, his pieces received numerous international awards for their unprecedented technique, including the Master of Art 2018 and the International Van Gogh Prize, awarded by Roy Dalí, son of Salvador Dalí.

In 2017, Matteo Mauro founded the Matteo Mauro Studio. He is best known for his generative art series Micromegalic Inscriptions, a body of research published in 2018 in a globally distributed book of the same name. Since 2020, he has expanded his daily artistic practice to include sculpture. In 2021, he ventured into blockchain-based art, becoming, according to Forbes, one of the rising stars of the movement. His works are collected by some of the most prominent art funds, and he has collaborated with the Lamborghini family to create commemorative pieces for their museum.

In 2022, he began working with Cortesi Gallery in Lugano and Milan. Since 2024, he has been based in Milan, where he has connected with individuals who understand and support his work, including Pietro Monopoli, Flaminio Gualdoni, and Ida Pisani. With Pisani, he has developed a close collaboration within the sphere of Prometeo Gallery.

His works have been exhibited in prestigious institutions such as the Royal Academy of Arts, MACS, Triennale di Milano, Marte Museum, MEAM, Museo della Fabbrica, Dubai Design District, IMACUM Mexicali, LAC Lugano, Qianjiang International Art Museum, Datong Museum, and the Salon des Indépendants at the Grand Palais. His art is represented at major international art fairs.

The artwork reflects the idea that thought is not merely an interpretive tool, but a generative agent capable of shaping forms and meanings. Its serpentine structures, seemingly obscure, reveal spaces for reflection where digression and intentionality intertwine. The compositional movement balances order and chaos, transforming the free flow of painterly content into a dynamic and ever-shifting visual configuration—constantly redefined through the viewer’s gaze. The piece is part of the Micromegalic Inscriptions series, a body of work initiated in 2016 through morphogenetic simulations and developed into a complex visual language within the realm of Generative Art.

In these works, lines generated by moving pixels follow compositional rules inspired by traditional engraving and the ornamental heritage of the Baroque and Rococo. The pixel becomes the protagonist of continuous, unpredictable growth, embodying the concept of encoded clinamen—a creative deviation without fixed time or place. Within this series, What I Think It Becomes stands out for its theoretical density and mythological layering.