Developed within the context of The Studio project at Underdogs Gallery, Transition was hand-finished by ±MaisMenos± (Miguel Januário) during his residency.

Built from a shared printed base, each edition was individually intervened upon through the addition of coloured linear lines inspired by the visual language explored throughout the residency. Applied directly by the artist, these markings shift position from print to print, creating subtle variations across the edition.

Created in parallel with a body of work developed through drawing, text, and moving image, the edition reflects the reduced and contrast-driven visual approach that characterises the artist’s practice, where clarity and ambiguity coexist within the same compositional structure.

Developed within the context of The Studio project at Underdogs Gallery, this edition was hand-finished by Rita João during her week-long residency.

Originally conceived as a glimpse into Pedrita Studio’s archive of discarded digital matrices, Mimixa 003.jpg reflects an interest in process, testing, and unexpected visual outcomes generated through experimentation and technical constraints. During the residency, the artist expanded this logic through direct manual interventions, introducing unique watercolour elements to each individual print.

Created in parallel with a new body of works on paper, the edition reflects the more immediate and open approach explored throughout the residency, where gesture, variation, and spontaneity became central to the creative process. As a result, each edition is unique.

Developed within the context of The Studio project at Underdogs Gallery, Nothing to Hide was hand-finished by Nuno Viegas during his residency.

Created alongside a new series of graphite and cyanotype works, the edition reflects the artist’s exploration of material transformation, controlled exposure, and gradual image construction. Extending this process into the risograph print, each edition was completed through the addition of a hand-applied golden crown.

Rooted in a practice informed by graffiti and its raw visual language, the work balances immediacy with precision, translating the tension between spontaneity and control into a single composition.

This edition emerges from Timur Fork’s reflection on navigating a present saturated with information and uncertainty. Against this diffuse background, the work insists on the possibility of connection, of reaching outward, of sustaining optimism as a deliberate act. Positioned between fragility and resilience, it proposes a quiet form of resistance: to continue imagining, planning, and caring despite the noise. Here, optimism is not naive, but constructed, held together through gestures of mutual support and the persistent search for freedom.

Emerging from Amanda Lobo’s visual universe, this edition reflects on the construction of the self as both exposed and protected. Figures take shape through layers of detail and ornament, forming a kind of external armor: a surface that both conceals and safeguards an inner core. Drawing from her language of fantasy and exaggeration, the work transforms vulnerability into structure, where decoration becomes defense, and identity is held in tension between what is shown and what is kept intact.

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 Corentin Spear’s ongoing blue monochrome series, this edition reflects on solidarity, resilience, and the representation of femininity as a space of strength rather than fragility. Centered on two female figures positioned back to back, the work evokes a gesture of mutual protection — a quiet alliance formed in response to an environment marked by tension and hostility.

Through blurred features and monochromatic tones, the composition moves beyond individual portraiture toward a more collective presence, where identity becomes shared experience. Floral and luminous elements unfold across the surface, introducing moments of softness and hope within the intensity of the scene. Balancing emotional charge with restraint, the work affirms the female body not as an object of projection, but as a site of endurance, support, and resistance.

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.

Emerging from Matthew Stone's ongoing exploration of layered realities, this work brings together movement, colour, and gestural forms into a composition where multiple visual and emotional dimensions coexist. Surfaces overlap, painted marks create shifting depths, while material and simulated spaces dissolve into one another, reflecting the complexity of contemporary experience.

Characteristic of Stone's practice, the digital and the physical are not positioned in opposition, but exist as complementary layers within the same pictorial language. Image, gesture, surface, and presence continuously intersect, creating a visual field where complexity gives way to moments of stillness and connection. Balancing movement with quiet contemplation, the work reflects on how, within an increasingly layered world, new ways of being fully human can continue to emerge.

Emerging from Joram Roukes’ ongoing exploration of identity and the symbols that shape contemporary culture, Blue Bull reflects on the evolving perceptions of masculinity through a dialogue between three protagonists: a blue bull, a red doberman, and a solitary perch. Suspended within a composition that resists fixed orientation, the figures invite multiple readings, suggesting that ideas of strength, vulnerability, and power are never absolute, but continuously shaped by perspective.

Characteristic of Roukes' practice, disparate images, cultural references, and symbolic elements are brought together into layered compositions that remain open to multiple interpretations. Working across painting, collage, and digital processes, the artist constructs richly textured visual worlds where familiar forms are continually recontextualised. For this edition, the original composition has been reworked through a transformed background, screen-printed interventions, and hand-finished details, allowing the dialogue between the three protagonists to come into sharper focus.

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.