The female graffiti artist Irene Avramelos, known in the streets as Eneri, works from pixação, the São Paulo urban writing practice that has become one of the city’s most powerful visual and political marks. Rooted in risk, visibility, and territorial presence, pixação is both writing and action - and in Eneri’s work, it becomes a declaration of love for the street. Her edition is grounded in lived experience, where the body is suspended, exposed, and placed in direct tension with the urban space. Over the photograph, pixação intersects with her own lettering, bringing the written phrase: “I risk my life for loving the street too much.”

The action involved physical risk as well as legal consequences, resulting in a vandalism charge, alongside other records under her civil name. Even so, as she states, “It is the need to express oneself, to feel alive, to paint an entire building even when such a space had never been granted to you before.”

This print reflects my ongoing exploration of the relationship and dialogue between analog and digital media within the study of nature and landscape — their structures and mechanisms — through composition.In my paintings, these studies focus more on how color guides us through the structure of the image. In this monorganism, the main attention is directed toward the structure itself and how different media can relate to one another, describing the surface of the format through multilayered formal relationships that lead to a harmonious composition.

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.