Emerging from Ana Malta’s ongoing exploration of process, transformation, and the unexpected possibilities of image-making, Per Aspera Ad Astra approaches the artwork not as something fixed, but as a space that can continue to evolve. Bringing together a print, sticker book, and series of stickers, the edition invites its owner to participate in that process: adding, moving, layering, or simply choosing to leave the image untouched.

Characteristic of Malta’s practice, colour, pattern, and intuitive gestures develop through accumulation, displacement, and the transformation of the unexpected into possibility. Here, that openness is extended beyond the artist’s hand, allowing time, choice, and participation to become part of the work. Taking its title from the Latin expression “through hardships to the stars,” Per Aspera Ad Astra embraces creation as a journey without a predetermined outcome, where each intervention opens the possibility of another direction.

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 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 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 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.