Emerging from Saman & Sasan Oskouei’s ongoing exploration of nature and its relationship to human systems, Harvestcenters on a single wheat stalk, broken into two. A symbol of nourishment and abundance, the wheat becomes here an image of interruption, something essential separated from its source, bringing into focus the fragile relationship between food, labour, and survival.

Characteristic of the artists’ recent practice, a restrained material gesture opens onto broader environmental and social questions. Cast into handmade paper, the broken stalk leaves behind a delicate imprint, suspended between presence and absence, resilience and vulnerability. Through this tension, Harvest reflects on the systems and natural cycles that sustain life, and on how easily what we depend upon, and often take for granted, can become precarious.

Emerging from Cleon Peterson’s ongoing exploration of power, violence, and the darker impulses of human nature, this edition reflects on the cycles of domination and revenge that continue to shape contemporary society. Rather than locating violence in a particular conflict or moment, the work points to a recurring pattern in which the pursuit of power produces suffering, retaliation, and further destruction.

Characteristic of Peterson’s practice, stylised figures and stark graphic contrasts reduce conflict to an almost archetypal struggle between power and submission. Behind this apparent opposition lies a more unsettling proposition: darkness cannot simply be attributed to an external enemy, but exists as a possibility within us all. Suspended between confrontation and uncertainty, the work asks what might be required to interrupt these cycles, while resisting the comfort of offering an easy way out.

Emerging from Cleon Peterson’s ongoing exploration of power, violence, and the darker impulses of human nature, this edition reflects on the cycles of domination and revenge that continue to shape contemporary society. Rather than locating violence in a particular conflict or moment, the work points to a recurring pattern in which the pursuit of power produces suffering, retaliation, and further destruction.

Characteristic of Peterson’s practice, stylised figures and stark graphic contrasts reduce conflict to an almost archetypal struggle between power and submission. Behind this apparent opposition lies a more unsettling proposition: darkness cannot simply be attributed to an external enemy, but exists as a possibility within us all. Suspended between confrontation and uncertainty, the work asks what might be required to interrupt these cycles, while resisting the comfort of offering an easy way out.

Emerging from Cody Hudson’s ongoing exploration of form, colour, and the natural world, Human Potential Redux (Farm Land Bird Textile) draws from the visual landscape of rural Wisconsin, where references to barn quilts, weather vanes, farmland, and birds are reduced to a vocabulary of abstract shapes. Built from cut paper forms, the composition moves between pattern and landscape, allowing familiar elements to surface without settling into a fixed representation.

Characteristic of Hudson’s practice, shapes are developed and rearranged intuitively, creating unexpected relationships through repetition, balance, and movement. His graphic language often sits between abstraction and recognition, allowing natural forms and lived environments to reappear in transformed ways. Translated here into screen print, the work evokes both the structure of a textile and a flattened landscape, bringing together folk references, personal observation, and the visual rhythms of the American Midwest.

Emerging from Ana Malta’s ongoing exploration of process, transformation, and the unexpected possibilities of image-making, Per Aspera Ad Astra approaches the artwork not as something fixed, but as a space that can continue to evolve. Bringing together a print, sticker book, and series of stickers, the edition invites its owner to participate in that process: adding, moving, layering, or simply choosing to leave the image untouched.

Characteristic of Malta’s practice, colour, pattern, and intuitive gestures develop through accumulation, displacement, and the transformation of the unexpected into possibility. Here, that openness is extended beyond the artist’s hand, allowing time, choice, and participation to become part of the work. Taking its title from the Latin expression “through hardships to the stars,” Per Aspera Ad Astra embraces creation as a journey without a predetermined outcome, where each intervention opens the possibility of another direction.

Emerging from Kai Clements’ ongoing exploration of movement, rhythm, and the invisible forces that shape our environment, Mixed Motion unfolds through an intricate network of flowing lines that continuously shift between order and unpredictability. Built through an intuitive process rather than a predetermined pattern, the composition evokes the frequencies, energies, and natural rhythms that exist beneath the surface of our everyday perception.

Characteristic of Clements’ practice, precision and spontaneity coexist within the same visual language. Variations in line density and tonal transitions create a sense of movement and depth, allowing the eye to navigate the composition through moments of tension and release. Balancing structure with fluidity, Mixed Motion reflects on the ever-changing nature of perception, suggesting that harmony is not found in stillness, but in the dynamic equilibrium of opposing forces.

Emerging from Joram Roukes’ ongoing exploration of identity and the symbols that shape contemporary culture, Blue Bull reflects on the evolving perceptions of masculinity through a dialogue between three protagonists: a blue bull, a red doberman, and a solitary perch. Suspended within a composition that resists fixed orientation, the figures invite multiple readings, suggesting that ideas of strength, vulnerability, and power are never absolute, but continuously shaped by perspective.

Characteristic of Roukes' practice, disparate images, cultural references, and symbolic elements are brought together into layered compositions that remain open to multiple interpretations. Working across painting, collage, and digital processes, the artist constructs richly textured visual worlds where familiar forms are continually recontextualised. For this edition, the original composition has been reworked through a transformed background, screen-printed interventions, and hand-finished details, allowing the dialogue between the three protagonists to come into sharper focus.

Emerging from Matthew Stone's ongoing exploration of layered realities, this work brings together movement, colour, and gestural forms into a composition where multiple visual and emotional dimensions coexist. Surfaces overlap, painted marks create shifting depths, while material and simulated spaces dissolve into one another, reflecting the complexity of contemporary experience.

Characteristic of Stone's practice, the digital and the physical are not positioned in opposition, but exist as complementary layers within the same pictorial language. Image, gesture, surface, and presence continuously intersect, creating a visual field where complexity gives way to moments of stillness and connection. Balancing movement with quiet contemplation, the work reflects on how, within an increasingly layered world, new ways of being fully human can continue to emerge.

Emerging from Fintan Magee’s ongoing exploration of the relationship between painting, photography, and lived experience, The Travellers draws on a photograph taken by the artist in the Kyiv metro, where underground stations continue to serve as bomb shelters during the war. Depicting two children absorbed in a television programme while waiting below the city, the work captures a quiet moment in which the routines of everyday life persist amid uncertainty.

Characteristic of Magee’s recent practice, the image is deliberately blurred, dissolving the boundaries between documentation and painterly interpretation. Rather than obscuring the scene, this visual instability becomes a narrative device, evoking both movement and unease. Balancing intimacy with fragility, the work reflects on the resilience of ordinary life while reminding us that beneath moments of apparent normality lies a world shaped by conflict, impermanence, and constant change.

Emerging from André da Loba’s vibrant visual language, FLOR brings together organic forms, geometric shapes, and bold fields of colour within a composition where nature, design, and digital aesthetics seamlessly coexist. Flowers, birds, abstract figures, and playful symbols unfold through overlapping planes and shifting transparencies, creating a visual ecosystem in constant transformation.

Characteristic of da Loba’s practice, illustration, graphic design, and contemporary visual culture converge into a language built on rhythm, clarity, and experimentation. Layers of line, colour, and opacity create unexpected relationships between forms, while recurring motifs introduce moments of familiarity within an otherwise fluid composition. Balancing structure with spontaneity, FLOR celebrates curiosity and imagination, inviting viewers to discover new connections between the natural and the constructed, the playful and the profound.

Emerging from BIGOD’s exploration of vernacular culture and overlooked forms of labor, this edition reflects on the circulation of images and their role in shaping collective memory. Drawing on the figure of the street newspaper seller, the work positions artistic creation as an act of distribution: something that moves, repeats, and carries urgency.

Built through layered fragments and graphic rhythms, the composition evokes processes of print and reproduction, where images accumulate and transform over time. Balancing manual gesture with industrial reference, the work establishes a dialogue between past and present, translating a street-based visual language into a form that can be held, shared, and preserved.