His signature “Crash”, bold and square, was one of the most illustrious in the subways of the 70s and 80s, an economically difficult period for New York, but exceptionally fervent from an artistic point of view.
Starting from the early ’80s, with the recognition of his work by illustrious art galleries such as Fashion Moda and Sidney Janis, Crash began to bring the explosiveness of his murals into the more contained but no less important frame of works on canvas .
In his long career, Matos has exhibited in museums and galleries on every continent and his works are present in the permanent collections of the most important museums in the world.
The representation of the eye as a recurring subject in his works echoes the eye of the spectator, with which it establishes a sort of dialogue.
