The contacts established in Paris, between 1934-35, with the intellectual and artistic milieu of the avant-garde lead Pedro to sign, along with Arp, Calder, the Delaunays, Duchamp, Miró, Moholy-Nagy and Picabia, among others, the Dimensionalist Manifesto, a trend that aims to erase the frontier between the arts through the introduction of space-time as the fourth dimension. For Pedro, it represented the possibility of building a bridge from his poetic activity to the plastic arts, opening Portuguese art to a new space for the art-literature relationship, in accordance with the theories and experiences of the international art of the time. The dimensional poem "Abstractions géometriques" constitutes the model that, worked chromatically in the process of printing, would give place to one of the poems included in the book "15 Poèmes au hasard", presented in the Salon des Surindèpendants in Paris, of which the magazine "Les artistes d'aujourd ' hui" highlighted him as one of the hall's most interesting discoveries. Painting and poetry cancel the boundaries that separate them, allowing the conjugation of the spatial dimension of painting and the temporal dimension of poetry in a single plane. Considering that poetry needs less and less words and that painting needs more and more poetry, he composes a poem of four verses in which the word disappears, leaving its primacy to the image. Each of them consists of abstracted signs that correspond to concepts and develop positively according to an internal rhythm. The space is occupied by forms of variable geometric rigor that unite with each other, adopting as a rhythmic and plastic value the thickness of the lines between elements and the change from smooth transitions caused by the curved line to others, in which the generated angularity is imposed by the meeting of straight lines. In their rhythmic capability, they come to adopt the value of musical notations more than poetic ones.