Pedro Sousa Louro
- Anna Lilli Garai
- Apr 26
- 4 min read
Updated: Apr 29
Pedro Sousa Louro starts his work from what the city leaves behind. Rusted metal, reclaimed wood, industrial scraps. The materials lead the way, carrying with them traces of past structures, passing time, and whatever’s present in his own world. His compositions come together with rough textures and bold forms, full of weight and intention. The process is quick, guided by instinct, and shaped by a need to react. Each object keeps a mark of where it came from and becomes part of something personal, grounded, and alive.

Q: Your work blends architecture, abstraction, and storytelling. Where does this connection between urban landscapes and artistic expression come from?
A: My life! My Energy. My Soul and My Secrets
My desire to know new things and information about subjects that are entirely invading my existence, my attention to how to analyze and register my education, and also where I should get all that knowledge about what is in that moment, are my only obsessions, and they go to the highest level of observation.
Q: Your process involves collecting and assembling materials like reclaimed wood, oxidized metal, and vintage objects. What draws you to these materials, and do you have a specific way of sourcing them?
A: The primary and crucial detailed law and work dictation in my practice is the materials I collect, find, and decide to use. They have to be connected with my analysis of beauty with elements of uniqueness and arrogant geometrical design format

Q: "Walking around my neighbourhood" paints a layered picture of Chelsea, capturing its luxury and contradictions. How do cities and their hidden narratives influence your creative vision?
A: It's like an earthquake. The mixed media of life itself has a tremendous impact on my narratives, ideas, and studio working practice are immensely touched and influenced, and sometimes, our self submissed character is invaded and controlled by the unfinished multicultural mix media of life itself.
Q: Many of your pieces tell a story beyond their abstract forms. Do you start with a concept in mind, or do these narratives emerge as you work?
A: The significant and principal character of my abstract storytelling is myself.
Then, I design the story according to the present time of my life, including private and public current ongoing situations.
Q: Your works combine structured geometry with organic elements. How do you balance precision with the unpredictability of materials and textures?
A: That's the most immense joy of my work. Thanks for that question!
The balance is all sorts of my self-control and the luckiness of unpredictability. So, it is a complicated method that I follow, but it could change at any minute of my practice due to other possibilities emerging in the pipeline. I always manage to find an end in the compositions.

Q: "Honey, we got a new house" , which tells a personal story of transformation. How important is storytelling in your work, and how do you decide which stories to tell?
A: I don't often find people from the general public, people from galleries, buyers, or art critics who understand the language in my pieces. Having said that, I always block a line of privacy and secret living details from every viewer. The viewers know what they want to understand.

Q: You've gained recognition not only in galleries but also in design publications and even film sets. How do you see your art fitting into different spaces, from private collections to cinematic worlds?
A: I don't have the recognition that I want yet. I'm thrilled and fortunate to have all the people I have worked with before, but I like a lot more but a lot more than that. Is being an artist only to sell "visually" what he produces? No, you are an artist because you see and imagine everything from a different perspective of Statusquo and for me, its the main reason I care about being an artist and want to be recognized in the art game is mostly the way I see the world, the life, the human brain, the physical living I mean all that we are living and tell through my work to all world that we are all crazy, bananas, mad but we are all ONE human beam. We have and should stand up for us as ONE.
Q: What's next for you? Are there any new materials, techniques, or concepts you're excited to explore in your upcoming works?
A: I stop to disclose my techniques, the source of the materials, and studio details for my next pieces just to protect my name and my unique creativity.
Keep an eye on me, keep interviewing me, and publish my work, and you will see my future.