Developed within the context of The Studio project at Underdogs Gallery, Nothing to Hide was hand-finished by Nuno Viegas during his residency.

Created alongside a new series of graphite and cyanotype works, the edition reflects the artist’s exploration of material transformation, controlled exposure, and gradual image construction. Extending this process into the risograph print, each edition was completed through the addition of a hand-applied golden crown.

Rooted in a practice informed by graffiti and its raw visual language, the work balances immediacy with precision, translating the tension between spontaneity and control into a single composition.

Emerging from Corentin Spear’s ongoing blue monochrome series, this edition reflects on solidarity, resilience, and the representation of femininity as a space of strength rather than fragility. Centered on two female figures positioned back to back, the work evokes a gesture of mutual protection — a quiet alliance formed in response to an environment marked by tension and hostility.

Through blurred features and monochromatic tones, the composition moves beyond individual portraiture toward a more collective presence, where identity becomes shared experience. Floral and luminous elements unfold across the surface, introducing moments of softness and hope within the intensity of the scene. Balancing emotional charge with restraint, the work affirms the female body not as an object of projection, but as a site of endurance, support, and resistance.

This edition emerges from Timur Fork’s reflection on navigating a present saturated with information and uncertainty. Against this diffuse background, the work insists on the possibility of connection, of reaching outward, of sustaining optimism as a deliberate act. Positioned between fragility and resilience, it proposes a quiet form of resistance: to continue imagining, planning, and caring despite the noise. Here, optimism is not naive, but constructed, held together through gestures of mutual support and the persistent search for freedom.

Developed within the context of The Studio project at Underdogs Gallery, Transition was hand-finished by ±MaisMenos± (Miguel Januário) during his residency.

Built from a shared printed base, each edition was individually intervened upon through the addition of coloured linear lines inspired by the visual language explored throughout the residency. Applied directly by the artist, these markings shift position from print to print, creating subtle variations across the edition.

Created in parallel with a body of work developed through drawing, text, and moving image, the edition reflects the reduced and contrast-driven visual approach that characterises the artist’s practice, where clarity and ambiguity coexist within the same compositional structure.

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.

Developed within the context of The Studio project at Underdogs Gallery, Burning in water, drowning in flame was hand-finished by Tamara Alves during her residency.

During her time in the gallery, the artist explored a more fluid and experimental approach to drawing, working with water-soluble graphite and watercolour to develop compositions shaped by unpredictability and emotional intensity. This same process extended into the edition through a direct hand-drawn intervention repeated individually across all prints, establishing a continuous visual concept throughout.

Created alongside a new body of works on paper developed inside the gallery space, the edition reflects the instinctive and process-oriented approach that defines the artist’s practice, where drawing became a space for testing, transformation, and expanded visual possibility.

Developed within the context of The Studio residency project at Underdogs Gallery, Bring staring at a wall back was hand-finished by Wasted Rita during her residency.

During her time in the gallery, the artist approached the space as an open and continuously evolving environment, where drawings, phrases, interruptions, and observations gradually accumulated in real time. Extending this process into the edition itself, Wasted Rita introduced hand-applied airbrush interventions directly onto the risograph prints, adding graphic elements that shift across the edition, with certain motifs reappearing intermittently from print to print.

Created alongside a new body of work developed inside the gallery, the edition reflects the sharp humour, immediacy, and critical visual language that define the artist’s practice, translating everyday anxieties, contradictions, and fragments of contemporary life into art.

Developed within the context of The Studio project at Underdogs Gallery, this edition was hand-finished by Rita João during her week-long residency.

Originally conceived as a glimpse into Pedrita Studio’s archive of discarded digital matrices, Mimixa 003.jpg reflects an interest in process, testing, and unexpected visual outcomes generated through experimentation and technical constraints. During the residency, the artist expanded this logic through direct manual interventions, introducing unique watercolour elements to each individual print.

Created in parallel with a new body of works on paper, the edition reflects the more immediate and open approach explored throughout the residency, where gesture, variation, and spontaneity became central to the creative process. As a result, each edition is unique.

Exploring themes of love, trust, and emotional vulnerability, D*Face makes use of the unique spatial context of the mural to bring narrative to the artwork. Familiar figures appear in moments of intimacy and reflection, inviting viewers to consider how relationships shape our sense of direction.

The imagery plays with contrast: softness and strength, affection and fragility, permanence and impermanence. Rather than presenting conflict between these opposites, the work focuses on the human experience of connection and the risks we willingly take in opening ourselves to others. Installed on either side of the bridge – an architectural symbol of passage – the mural mirrors the transitions we experience in relationships and in life.

EXIsT unfolds from João Fortuna’s investigation into the condition of the individual within cycles of acceleration and repetition. Composed through a vocabulary of fragmented visual codes, the work reflects a state where existence becomes mechanical, reduced to sequences of inputs and outputs, gestures and routines. Suspended between awareness and automatism, the piece traces a closed loop where meaning dissolves into repetition. Within this tension, between staying and escaping, permanence and rupture, EXIsT captures the fragile threshold where consciousness resists being absorbed into the system.