This edition began on the island of Lesvos, Greece, where eL Seed visited the Moria refugee camp — destroyed by fire in 2020, leaving over 13,000 people without a home. During his visit, he met Achmad, an Afghan refugee, who pointed to the exact spot where his tent once stood. Gesturing to the sea and olive trees behind him, Achmad told the artist: “This was my house. Look at the view!”

That encounter became the starting point for this work. Inspired by Achmad’s words and by the landscape of Lesvos, eL Seed created a piece inscribed with a line from the island-born poet Odysseas Elytis: “Always, always, you pass through fire to reach the shining.”This edition encapsulates that message: a powerful testimony to resilience and strength in the face of displacement.

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 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.