Born in 1980 in Czeladź, Poland, Mateus has lived in Germany since early childhood. At the age of eleven, he picked up a Praktica camera for the first time and began exploring the transience and quiet transformation of nature through photography. This early engagement with time, light, and landscape continues to shape his artistic visions.
After completing his Bachelor's degree in Photography in Dortmund, he is currently pursuing his Master's, which led him in 2025 to a semester at the School of Arts at Universidade Católica in Portugal.
Since 2011, he has worked as a freelance commercial photographer and filmmaker, with a focus on transportation, storytelling, lifestyle, and still life. His work combines atmospheric depth with visual precision. In addition, he works as a CGI artist at the intersection of reality and digital creation.

The Shiny Emptiness of Violence

In my work The Shiny Emptiness of Violence , I explore landscapes as spaces shaped and structured by human intervention. They do not appear as untouched idylls, but rather as reflections of social, economic, and technological processes. My photographs illustrate how humans mold places according to their needs and transform them for economic purposes. In this context, landscape is not understood merely as a natural environment, but as a social construct—an archive of human interventions and power structures.
I aim not simply to document landscapes, but to create visual narratives about the mechanisms of the modern world. Through the deliberate use of order, patterns, and grid structures, I abstract reality and transform it into artificial compositions. These emphasize functional interventions and open up new, often surreal perspectives on our surroundings.
Digital photography serves not only as a technical medium, but as a creative tool. Targeted digital manipulations are employed to generate effects such as endless repetitions or artificial structures. The resulting images oscillate between documentation and construction—between reality and imagination.
The pervasive dominance of power structures in our built environment is mirrored in my image compositions. They may appear aesthetically pleasing, yet simultaneously evoke a sense of unease —silent reflections on the systems of control that shape our world.