“Freedom is absolute in the relativity of time and space.” In this edition, Miguel Januário transforms the format of an eye chart into a layered reflection on perception — visual, political, and historical. As the letters shrink line by line, so does the idea of freedom itself, becoming increasingly narrow, distant, and harder to hold onto. Released on the occasion of 25 April, the anniversary of Portugal’s Carnation Revolution of 1974, the editions revisit the ideals of revolution through a lens of doubt and critical observation.These works are part of ±MaisMenos±, Januário’s long-standing project that uses minimalist language and bold contradictions to expose social and political paradoxes. Operating between public space, activism, and contemporary art, his practice turns language into a site of tension — and clarity into critique.The editions are available in two formats: a large, limited edition and a smaller open edition. When purchasing the large one, the smaller is included — a gesture of sharing and accessibility that reflects the artist’s belief in the circulation of ideas.

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.

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.

Emerging from Miss Van’s ongoing exploration of femininity, sensuality, and emotional complexity, Lady with Poppies presents a figure suspended between strength and vulnerability. Surrounded by poppies and rendered through flowing lines, the portrait draws inspiration from vintage Art Nouveau lithographs, bringing their decorative elegance into dialogue with the mystery and intensity that define the artist’s visual universe.

Characteristic of Miss Van’s practice, female figures become spaces for exploring multiple and sometimes contradictory expressions of femininity. Sensuality, confidence, vulnerability, and introspection coexist, resisting a singular or idealised representation of the feminine. Blending the dreamlike with raw emotion, Lady with Poppies transforms the portrait into a psychological presence, where beauty and allure reveal something more complex, intimate, and elusive beneath the surface.

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 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.

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.