Emerging from Verkron’s exploration of African identity, spirituality, and imagined futures, Tchoquewe, Um Ritual Contra o Fim dos Tempos brings together the human figure and the giant sable antelope, an animal deeply associated with Angola and threatened with extinction. Their boundaries dissolve into a hybrid presence, creating a space where human and non-human life are understood as interconnected rather than separate.

Characteristic of Verkron’s Afro-surrealist and Afro-futurist language, the work draws on cultural memory and the natural world to imagine realities beyond conventional divisions. The idea of ritual becomes a means of confronting disappearance — ecological, cultural, and symbolic — while the hybrid figure embodies both vulnerability and continuity. Suspended between preservation and transformation, the work reflects on what must be carried forward when environments, species, and identities themselves are under threat. 

Speto is one of Brazil’s most influential street artists, and a true pioneer of graffiti in Latin America. Born and raised in São Paulo, he began painting in the late 1980s, when graffiti was still emerging in Brazil, and quickly became known for a style that combined bold lines, vibrant colors, and references drawn from Brazilian culture.

Throughout his career, Speto has built bridges between different worlds. His art is deeply rooted in Brazil, but it also connects with American influences such as hip hop, pop, and urban culture. Music plays a central role in his practice, shaping his rhythm, his compositions, and the energy of his works.For this edition, Speto turns to his own heritage and the women who have marked his personal story.

"Carmelita" presents a powerful Brazilian woman as its central figure. She is strong, almost mystical, and her dress carries an indigenous-inspired pattern that speaks of ancestry, tradition, and resistance.The work celebrates not only femininity but also the resilience of Brazilian identity — an identity that has always been built in dialogue, between past and present, between local roots and global sounds.

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.

Emerging from Fintan Magee’s ongoing exploration of the relationship between painting, photography, and lived experience, The Travellers draws on a photograph taken by the artist in the Kyiv metro, where underground stations continue to serve as bomb shelters during the war. Depicting two children absorbed in a television programme while waiting below the city, the work captures a quiet moment in which the routines of everyday life persist amid uncertainty.

Characteristic of Magee’s recent practice, the image is deliberately blurred, dissolving the boundaries between documentation and painterly interpretation. Rather than obscuring the scene, this visual instability becomes a narrative device, evoking both movement and unease. Balancing intimacy with fragility, the work reflects on the resilience of ordinary life while reminding us that beneath moments of apparent normality lies a world shaped by conflict, impermanence, and constant change.