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.

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.

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.”

Alex Senna’s work approaches love through vulnerability and emotional openness. In 'Coração Aberto'[Open Heart], the exposed and wounded heart acknowledges that loving always carries risk, pain, and fragility. Still, the figure stands before it, choosing to remain open. Senna’s imagery speaks of tenderness as a form of resistance - the decision to stay emotionally available in a world that often demands hardness and emotional withdrawal.