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.

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.

John Andrew Perello, known as JonOne, is a pioneer of graffiti who emerged from New York’s 1980s scene - crossing paths with Basquiat and Warhol -before moving to Paris in 1987. "Bleu Horizons" distills his signature “tag-as-gesture” into a limited edition that layers sweeping calligraphic strokes, splashes, and drips across a deep field of blues. The work channels the speed and improvisation of the street into a controlled, rhythmic composition, capturing JonOne’s trademark energy while pushing his language of color and movement into a refined, collectible format.

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.

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.

Edition: Edition of /50 + 10 AP

Technique: Giclée print and eight-colour screen print on paper

Size: 68.6 × 45.7 cm

Artist: Tristan Eaton

Shipping: Plastic-free packaging