A discussion about the gallery as a cultural space and creative practice. (18/3/2026)
On March 18th, I talked with Italian-born, Sydney-based artist Matteo Bernasconi at his Peach Black gallery in Redfern, Sydney. I first met him at the start of the year, when a friend invited me to one of his life-drawing sessions.
In this short discussion, we talk a little about the gallery as a cultural space, the ways in which his studio spaces are arranged and the culture that forms, as well as his own creative process. Thank you again, Matteo, for talking. Links to Peach black are below.
Ethan Scotney
So, if you could, please tell me a little bit about this space?
Matteo Bernasconi
So, the idea of Peach Black is not just to have a gallery in the traditional sense. In just a gallery where you exhibit paintings, it’s more like a cultural space where you display different kinds and forms of art. You can come here and not just look at art, but also create art through workshops. We’re not just visual art; we also organise a lot of concerts too.
Ethan
Oh really? I didn’t know you had concerts here too; that’s really nice.
Matteo
Yeah, Classical music, especially, and all this kind of music. It’s not difficult to do. For example, we had some South American music from Argentina, some from Hawaii, and Tango, as well.
It’s not just a Gallery.
Ethan
More like a cultural space?
Matteo
Yeah, exactly. I divided it into different spaces. One is the gallery, and one is my studio where I create my artwork, and upstairs we have our Studios.
Ethan
What kinds of things do people like? What kind of questions, I guess, would they ask when they’re looking for art studios?
Matteo
Well, the natural light is the best. But there are more questions about who knows each other. The space is completely open, with common areas. Everyone has their own corner, like a sanctuary, quite a big space. So everyone can see what the others are doing and exchange views and ideas. That was the idea behind it. A 360-degree space where you create, see art, experience art, and sometimes we have talks about art. This is really important.
It’s beautiful because I could say it’s growing a lot.
Ethan
How many years?
Matteo
Eight, nine years now.
Ethan
Wow.
Matteo
It has been amazing.
Ethan
It’s really good, and really interesting, especially when you talk about it as a cultural space. I didn’t know you guys even had other musical things happen, and stuff like that. That’s really cool. Way more than just a visual gallery.
Matteo
Because I also find it’s really hard in Sydney to find these little, intimate spaces like you can find in Switzerland, Europe, where I’m from. You’re either in maxi spaces or nothing. And also, you go to Spaces created by artists that are not really great, because of course, it’s very expensive. So their spaces are outside the city. Or there are only a few galleries here in the centre. They are super expensive, I’m almost scared to go in.
Who sells, whatever is hot. They don’t really care about art. That’s either just about selling whatever sells. But you don’t have many spaces like that in the centre. It is so vital, so important, for a city to have spaces like that.
Ethan
Yeah, for sure.
Matteo
Create spaces where people can meet and see some art and creators.
Ethan
I like that a lot. And if I may, I’d like to hear more about how you work. There’s a lot going on here.
Image Credit : Ethan Scotney
Matteo
It’s a creative mess. An organised mess which is not really organised either. Things need to be quite massive in my studio. I don’t want to need to think about where I’m gonna put my brush, my pants. Things flying. Going on the floor. Just one goal to reach.
Ethan
So, in terms of design, it’s like you need space that can be messy?
Matteo
Yeah, absolutely, and lots of table space.
I start normally flat because I come from watercolour. And then I put my paintings up on the wall so I can have another different angle.
Ethan
A little unrelated, but how long have you been doing watercolour?
Matteo
Forever. Since I was a child, I have been drawing.
It’s unpredictable if you embrace. This factor it’s the best medium ever, but if you are tired and say, no, I want something perfect it won’t work. You need to be looking for the accident and use it as a shunt. Rather than correcting all the time.
Ethan
I think that’s why I moved over pens and inks. It’s a bit more accurate. But I think that should do it, since we’re a little over time. Thank you so much, Matteo, for chatting. This was really insightful to hear about the gallery and your work.
Matteo
Thank you.