New York–born artist John Andrew Perello, better known asJonOne, emerged from the 1980s graffiti scene alongside artists like Basquiat and Warhol before settling in Paris, where his vibrant, gestural language evolved beyond the streets. In Environment, his dynamic strokes and layered color fields turn attention toward the natural world. Each hand-finished screenprint ripples with oceanic blues and hazy greys — an abstract meditation on the sea, the sky, and the pollution that threatens them. The edition bridges JonOne’s urban energy with an urgent call for ecological awareness.

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 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.

Emerging from the encounter between André Saraiva and JonOne, Throw Up brings together two artists whose practices were shaped by graffiti and by the fundamental act of leaving a signature in public space. JonOne’s name expands across the composition as one big throw-up, while André Saraiva’s iconic Mr. A appears at its centre, merging two immediately recognisable identities into a single image.

Characteristic of their respective practices, the signature becomes more than a mark of authorship, evolving into a visual language of its own. While JonOne has transformed the writing of his name into an expressive, often repetitive, gestural form, Saraiva developed his character, Mr. A as a drawn signature capable of communicating beyond words. In Throw Up, these two approaches overlap playfully and directly, celebrating graffiti’s ability to turn a name into an image, an identity, and a presence.

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.

“Afterburn” distills Paul Insect’s theatrical vision of modern life, where masks and roles shift with every scene. Blending bold colour, hypnotic detail, and his signature cut-outs, the edition celebrates the messy charm of imperfection while questioning how we see and are seen in a world overloaded with information. Playful yet contemplative, it captures Insect’s irreverent spirit and his call to find authenticity behind the mask.

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 PixelPancho’s dystopian universe of machines, nature, and decay, Our Burning World reflects on the fragile relationship between humanity and the environment it inhabits. Through the artist’s recurring robotic figures, the work turns technological progress back onto its creators, confronting the contradiction between our desire to overcome natural limits and our capacity to destroy the very world that sustains us.

Characteristic of PixelPancho’s practice, machines are given distinctly human qualities while remaining vulnerable to the same forces of time, deterioration, and mortality. Rusting bodies and organic forms coexist within a world where nature persists alongside the remnants of human ambition. Balancing science fiction with ecological reflection, Our Burning World presents decay not as something belonging only to machines or landscapes, but as a mirror of the choices and contradictions of humanity itself.

Emerging from Kruella D'Enfer's ongoing exploration of the relationship between nature, symbolism, and inner landscapes, Natural High reflects on the quiet moments in which contentment is found not in perfection, but in acceptance. Organic forms, luminous colours, and recurring natural motifs come together to construct an imagined environment where beauty emerges through balance rather than certainty.

Characteristic of Kruella D'Enfer's practice, elements drawn from the natural world become metaphors for emotional states and personal reflection. Blending dreamlike imagery with a refined graphic language, the work invites viewers to embrace imperfection as an essential part of harmony. Balancing contemplation with optimism, Natural High suggests that fulfilment often resides not in the pursuit of an ideal, but in the ability to recognise and appreciate the beauty already present around us.

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 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 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.

Emerging from Raquel Belli's ongoing exploration of perception, identity, and the spaces between certainty and ambiguity, Mirror-Mirror reflects on the ways images are constructed, fragmented, and reassembled. Through a woven visual structure that simultaneously reveals and obscures the portrait, the work resists a fixed reading, inviting the viewer to inhabit the shifting space between recognition and abstraction.

Characteristic of Belli's practice, photography is transformed through processes of weaving and reconstruction, where the image becomes both object and illusion. In this series, the artist also incorporates artificial intelligence into her creative process for the first time, introducing a new layer of mediation between the photographed subject and its material transformation. The dialogue between digital generation and handcrafted intervention blurs the boundaries between reality and simulation, allowing multiple perspectives to coexist within a single image. Balancing technology with materiality, Mirror-Mirror reflects on identity as something continuously constructed, negotiated, and reimagined.