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 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.

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 Onun Trigueiros’ exploration of identity, memory, and the everyday realities that surround him, Pá Sempre draws on one of the defining elements of his visual language: the postage stamp. Rooted in old stamp collections, this format has become a framework through which Onun Trigueiros records the people, attitudes, and cultural references of his own time, while retaining the sense of nostalgia and timelessness that first attracted him to it.

Characteristic of Onun Trigueiros’ practice, painting, collage, and graphic language converge to transform contemporary figures into images that feel simultaneously immediate and preserved. Created in the context of Interferências at MAAT, the edition brings the visual culture of his surroundings into dialogue with an object belonging increasingly to another era. Balancing personal experience with collective memory, Pá Sempre reflects on representation as a way of giving permanence to people, gestures, and identities that might otherwise remain overlooked.