In today’s world, empathy feels more urgent than ever — the ability to listen, to see through another’s eyes, to be moved by what is not your own. Art nurtures empathy by opening doors to different worlds through images and creations that speak universally. Portuguese duo Halfstudio channels this power through bold, playful typography that transforms words into vibrant visual experiences. Their limited edition print Empathy reflects imbalance and tension, showing that empathy is not effortless, but a conscious act.

As the artists put it: “A word we see everywhere: headlines, campaigns, conversations. Familiar, overused, and often emptied of meaning. Empathy isn’t easy. It asks for presence, patience, and the willingness to carry what isn’t yours. It resists comfort. It’s not embellishment. It’s an act of endurance.”

Emerging from Shepard Fairey’s ongoing exploration of the relationship between power, protest, and peace, AR-15 Lily Portugal reinterprets one of the artist’s most enduring visual motifs: a firearm transformed into a vessel for a blooming flower. Created for Portugal, the work echoes the symbolic legacy of the Carnation Revolution, where flowers became an emblem of peaceful resistance and democratic change.

Characteristic of Fairey’s practice, graphic clarity and bold iconography are employed to communicate complex political ideas through universally recognisable symbols. By juxtaposing the AR-15 rifle with a lily in full bloom, the work confronts the tension between violence and hope, destruction and renewal. Balancing the visual language of propaganda with a message of optimism, AR-15 Lily Portugal reflects on the enduring possibility of replacing conflict with dialogue and transforming symbols of division into expressions of collective resilience.

Emerging from Shepard Fairey’s ongoing use of universal symbols to communicate ideas of peace and social harmony, Geometric Dove (Black) places the familiar image of the dove within a carefully balanced geometric composition. Rather than confrontation, the work adopts a quieter visual language, using symmetry, colour, and repetition to evoke a sense of order and coexistence. 

Characteristic of Fairey’s practice, immediately recognisable imagery is distilled through the bold graphic language that has shaped his work across posters, prints, and public space. Here, geometry becomes more than a formal device, creating a structure within which difference can exist in balance. Translated onto tile, the composition acquires an additional sense of permanence and material presence, reinforcing the work’s simple but enduring proposition: the pursuit of peace and harmony. 

Emerging from Okuda San Miguel’s exploration of imagined metaverses, Bodegón Infinito I constructs a vibrant landscape populated by the recurring symbols that define the artist’s visual language. Geometric masks, birds, organic forms, and colourful structures coexist within a universe where physical and imagined realities merge, proposing an expansive vision of identity untethered from conventional boundaries.

Characteristic of Okuda’s practice, mathematical precision and chromatic intensity become tools for exploring diversity, freedom, and human connection. Built upon carefully orchestrated geometric compositions, the work transforms colour into a universal language through which cultures, perspectives, and ways of being can coexist. Balancing formal structure with boundless imagination, Bodegón Infinito I invites viewers into a world where difference becomes a source of harmony and where new realities emerge through the continuous interplay of symbols, colour, and perception.

BRINCAR com letras grandes("PLAYING in big letters") is a visually vibrant and provocative composition that delves into the ambiguity between playfulness and truth, lightness and emotional manipulation. The work confronts the viewer with a saturated visual universe - filled with childhood references, fragmented objects, and clashing textures - orchestrated within an intentional chaos.At the heart of this whirlwind lies a subtle yet loaded question: “Plena mente?” (a wordplay in Portuguese suggesting both “fully conscious” and “full of lies”). The phrase operates as both riddle and critique, questioning the social habit of saying something honest in the form of a joke - only to quickly retreat behind the phrase “just kidding” when vulnerability is exposed. A gesture that simultaneously reveals and denies.The painting becomes a reflection on dishonesty wrapped in playfulness, where a playful aesthetic is used to camouflage deeper emotional tensions.  Visual elements like cherries, childlike patterns, and abrupt cutouts serve as metaphors for the desire to express honesty. “BRINCAR com letras grandes” refuses the superficiality of joking and invites a reflection on the courage it takes to stand by the truth - even when it arrives masked as laughter.

In this special edition, Tristan Eaton fuses digital and screen printing to explore the tension between surface and depth, beauty and construction. Known for his layered approach, Eaton continues to blur the boundaries between fine art, pop culture, and street aesthetics. “Sous”captures the essence of his practice: bold, intricate, and unapologetically hybrid.

Emerging from Bisco Smith’s ongoing exploration of language, movement, and the human condition, Human Kindreflects on the tensions that define contemporary existence. Built around the dual meaning of its title, the work considers both what it means to be human and the direction humanity is taking, inviting reflection on the choices, contradictions, and struggles that shape our collective future.

Characteristic of Smith’s practice, gestural abstraction, graffiti, and typography converge into compositions that capture rhythm as much as meaning. Layers of energetic marks and recurring words accumulate across the surface, echoing the spontaneity of street writing while creating a visual language that is both expressive and contemplative. Balancing urgency with introspection, Human Kind transforms the written word into an open reflection on identity, resilience, and our shared responsibility in shaping the world we inhabit.

Betweenevilandfun, Diogo Potes, a graphic designer and creative director based in Lisbon, creates monsters that don’t really want to scare. His figures live in an ambiguous space — chaotic, colourful, intense — where the grotesque is softened by vibrant palettes and a sense of humour. Influenced by punk rock and 1990s skateboard graphics, these creatures with bulging eyes and sharp teeth inherit the anarchic spirit of that era, yet reject the narrative of fear. The result is a playful and provocative visual tension — monstrous, but never hostile.