“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.

"Afterglow” embodies Paul Insect’s fascination with masks, identity, and the fragmented theatre of everyday life. With striking detail and his iconic graphic cut-outs, the work radiates both humour and depth — a vibrant reminder of the beauty in imperfection and the authenticity that shines through when appearances fade.

Afterglow – Roman Numerals” is a special variant of Paul Insect’s edition that carries an added layer of rarity and significance. Unlike the standard numbering system, this version uses Roman numerals — a timeless notation historically linked to heritage, exclusivity, and permanence. By marking the work with this classical system, Insect elevates its status, making each piece feel more like an enduring artifact than a simple edition number. This detail not only enhances the conceptual weight of the artwork but also increases its collectability and long-term value, distinguishing it as one of the most sought-after versions within the series.

Judith Supine’s work has always hovered between delirium and clarity, seduction and discomfort. Known for his surreal collages that splice together fragments of the body, pop cultural debris, and dreamlike imagery, he constructs figures that feel both grotesque and hypnotic. In recalling a fever dream in the jungles between Costa Rica and Panama—hallucinating from dysentery as a Blue Morpho butterfly followed him down a dirt road—Supine describes a moment of fragility that turned into revelation, an overwhelming sense that everything would be okay. This vision encapsulates the tension at the core of his practice: the collision of beauty and decay, hallucination and prophecy, the unconscious erupting into form.

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.

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 ±MaisMenos±’s ongoing investigation into value, consumption, and the contradictions of contemporary society, this edition transforms a familiar expression into a conceptual paradox. Through a subtle linguistic intervention, the work reverses the promise traditionally associated with wealth, replacing certainty with ambiguity.

Characteristic of the artist’s practice, language becomes both medium and subject. The statement can be read simultaneously as a critique of consumer culture and as a reflection on the commodification of absence itself — a recurring theme throughout ±MaisMenos±’s work, where even “nothing” can become a product, an image, or an object of exchange. Balancing irony with social commentary, the piece questions the systems of value through which meaning is produced, circulated, and consumed.

Emerging from Tiago Galo’s exploration of everyday gestures and contemporary experience, desNORTE reflects on moments of uncertainty and the search for direction. The title draws on the Portuguese word for disorientation, evoking a state in which familiar points of reference begin to dissolve.

Rendered through the artist’s characteristic visual economy, the composition centers on a solitary figure engaged in an act of navigation. Yet rather than offering certainty, the image suggests a condition of continual searching, where orientation becomes both a physical and emotional process. Balancing simplicity with subtle ambiguity, the work reflects on how individuals position themselves within an increasingly complex world, where the need for direction often coexists with the acceptance of not knowing exactly where to go.