Shaped by the vibrant spirit of Montego Bay, Jamaica, the son of a seamstress, Matthew Harris—known to the world as Mateo—has always followed the thread of artistry with determination and grace. His true calling revealed itself in New York City, where the bustling Jewelry District became both his classroom and proving ground. Entirely self-taught, Matteo immersed himself in the intricacies of craft, patiently refining a voice that would soon distinguish his work on an international stage.
When he launched his namesake brand in 2009, it began with a collection of men’s jewelry inspired by the humble yet powerful forms of a working man’s toolbox. The debut set the tone for a practice rooted in clarity and concept, soon expanding into a women’s capsule that hinted at the elegant direction his designs would take. By 2014, MATEO fully embraced a focus on women’s fine jewelry, defined by clean lines, minimalism, and an ambition to create modern art for the modern woman—sculptural, resonant, and accessible.
Crafted in 14-karat gold and illuminated with diamonds and precious gemstones, each piece embodies Mateo’s devotion to refinement and storytelling. His vision has reached far beyond the studio, gracing the collections of Rihanna, Michelle Obama, Zendaya, and Anne Hathaway, while appearing across the pages of leading fashion publications worldwide. Museums have also taken notice: in 2016, the Smithsonian Museum’s National Museum of African American History and Culture in Washington, D.C., featured his work, followed a year later by the Hirshhorn Museum of Contemporary Art. Recognition from the CFDA/Vogue Fashion Fund in 2017 further cemented Mateo’s place as a vital voice in contemporary design.
During the debut of Untitled Art in Houston, where Harris lives, Whitewall spoke with him about the tremendous evolution of his collection, the resonance of storytelling in art, and the creative voices who continue to expand his vision.
Portrait courtesy of Mateo Harris.
Courtesy of Mateo Harris.
WHITEWALL: What was the first piece in the collection?
MATEO HARRIS: The very first piece in my collection is by the artist Shikeith—a striking work entitled Not Quite Like the Boys. Shikeith’s practice deeply resonates with me; he explores themes of identity, intimacy, and spirituality within the Black queer experience, often with a poetic and cinematic sensibility. His work is both vulnerable and powerful, confronting absence while creating space for tenderness. Starting my collection with his piece felt intentional—it set the tone for building a collection that isn’t just about aesthetics, but about storytelling, representation, and meaning.
WW: How did your collection grow from there?
MH: From that foundation, the collection grew in a very organic way. I became more attuned to artists who, like Shikeith, use their practice to question, reveal, and reimagine. That first acquisition encouraged me to be bold and thoughtful in my choices, prioritizing work that sparks dialogue and expands how we think about history, culture, and identity. Over time, this has meant balancing emerging voices with more established artists, but always with the same guiding principle—collecting what feels honest and deeply resonant.
“That first acquisition encouraged me to be bold and thoughtful in my choices,”
Mateo Harris
WW: Can you share a recent acquisition you’re excited about?
MH: A recent acquisition I’m very excited about is a piece by Nigerian artist Soji Adesina entitled Blue Vitiligo. His work is deeply evocative, layering figuration and abstraction in a way that feels both personal and universal. Blue Vitiligo struck me immediately for the way it engages with questions of visibility, transformation, and beauty. Bringing it into my collection felt like expanding the conversation, adding a new dimension alongside artists like Shikeith and Jem Perucchini.
Mateo Harris on Trusting Your Instincts and Discovering New Voices
Artwork by Soji Adesina, Courtesy of Mateo Harris.
Courtesy of Mateo Harris.
WW: What is your advice for aspiring collectors, just getting started?
MH:Trust your instincts and allow yourself to be guided by what moves you. Spend time looking—really looking—in galleries, museums, and studios. Don’t get caught up in trends or speculation. Support emerging artists, because those relationships can be deeply rewarding. My collection began with Shikeith, and that choice continues to ground my collecting philosophy.
“Support emerging artists, because those relationships can be deeply rewarding,”
Mateo Harris
WW: What are you looking forward to most at Untitled Art, Houston?
MH: I’m looking forward to discovering new voices and reconnecting with galleries I admire. Untitled Art always brings together such a dynamic mix, and Houston’s energy as an art city makes it the perfect place to encounter the unexpected. Also just looking forward to seeing friends.
WW: What are the exhibitions in Houston you won’t miss?
MH: I am especially excited to see the works of Reginald O’Neal and Jared McGriff while in Houston. Both artists bring such a powerful sense of intimacy and narrative to their practice—their work feels deeply human and layered with emotion. Alongside that, I’ll of course make time for the Menil Collection, which never fails to surprise me with its thoughtful programming, and the MFA Houston, which continues to present ambitious and beautifully curated shows.
“Houston’s energy as an art city makes it the perfect place to encounter the unexpected,”
Mateo Harris
WW: Who is the artist you’re most excited about right now?
MH: I’m captivated by Amoako Boafo’s work at the moment—the way he captures Black identity with both tenderness and strength is remarkable. I’m also closely watching younger artists experimenting with material and form; their innovation is shaping where the art world is headed next.
Courtesy of Mateo Harris.
Courtesy of Mateo Harris.
