Emerging from Verkron’s exploration of African identity, spirituality, and imagined futures, Tchoquewe, Um Ritual Contra o Fim dos Tempos brings together the human figure and the giant sable antelope, an animal deeply associated with Angola and threatened with extinction. Their boundaries dissolve into a hybrid presence, creating a space where human and non-human life are understood as interconnected rather than separate.

Characteristic of Verkron’s Afro-surrealist and Afro-futurist language, the work draws on cultural memory and the natural world to imagine realities beyond conventional divisions. The idea of ritual becomes a means of confronting disappearance — ecological, cultural, and symbolic — while the hybrid figure embodies both vulnerability and continuity. Suspended between preservation and transformation, the work reflects on what must be carried forward when environments, species, and identities themselves are under threat. 

Emerging from PixelPancho’s dystopian universe of machines, nature, and decay, Our Burning World reflects on the fragile relationship between humanity and the environment it inhabits. Through the artist’s recurring robotic figures, the work turns technological progress back onto its creators, confronting the contradiction between our desire to overcome natural limits and our capacity to destroy the very world that sustains us.

Characteristic of PixelPancho’s practice, machines are given distinctly human qualities while remaining vulnerable to the same forces of time, deterioration, and mortality. Rusting bodies and organic forms coexist within a world where nature persists alongside the remnants of human ambition. Balancing science fiction with ecological reflection, Our Burning World presents decay not as something belonging only to machines or landscapes, but as a mirror of the choices and contradictions of humanity itself.

In the early days of graffiti, the ultimate flex in the scene had a name: wholetrain. To paint not just a single carriage but an entire moving vessel from end to end was a feat of scale, coordination, and audacity. Emerging in late-1970s New York, the wholetrain became a rite of passage: it was a moving celebration of collaboration between different artists, friendship, adrenaline, and sheer artistic nerve. When a wholetrain rolled into a station, everyone stopped. It was that powerful.

This spirit of collective creation, risk, and improvisation is the foundation of WHOLETRAINS, a project initiated by Alexandre Farto aka Vhils. He invited close friends, long-time collaborators, and some of the most important graffiti artists today — Barry McGee, OSGEMEOS, and Revok, who in different corners of the world, also grew up working on trains — to take this legendary spirit and twist it into something new. Instead of steel and subway tunnels, the structure unfolds on a long sheet of paper mapping the outline of a real train from Portugal’s Sintra Line.

Cadavre Exquis

In the WHOLETRAINS project, the raw energy of graffiti meets the Surrealists’ favourite game, the cadavre exquis: a chain-reaction artwork where each artist builds on what came before without ever seeing the whole picture. This concept served as inspiration for the project, shaping a seamless clash of styles that only collective creation can produce. And just like a train in motion, WHOLETRAINS keeps unfolding — opening the way for future collaborations and new carriages to come.

Collectible Carriages

Steering this project are none other than Barry McGee, OSGEMEOS, Revok, and Vhils — four artists who have defined entire chapters of graffiti and urban art across continents. Each takes on a carriage, turning the train into a moving constellation of styles, rhythms, and visual frequencies.

Together, they bring WHOLETRAINS to life with the force, velocity, and unpredictability that only decades of shared history can generate. Underdogs is proud to present this project with unique original works, individual editions available for separate acquisition, and full-train editions that unite all carriages into a single unfolding piece.