"This print was developed following a month spent living and working in Lisbon, where I immersed myself in the city through observation, walking, and documentation. Coming from a street art background, I’m always highly aware of my environment and the way a city shapes both people and visual language. Lisbon immediately felt familiar, there are strong parallels with Dublin in its cultural depth, history, and humanity. But Lisbon carries a particular vibrancy, amplified by light, colour, and climate. What stood out most to me was the city’s surface language, the mosaic tiles, the layering of materials, and the quiet beauty found in its aging and weathering. Broken façades, discarded buildings, cracked tiles, and flora pushing through concrete all reveal traces of life and use. These imperfections speak to time, occupation, and shared experience, they show a city that has been lived in. In this work, I wanted to move away from the flat, clean-lined graphic approach I’m often known for and instead embrace texture, depth, and layering. The piece reflects the conversations within a city, between old and new, destruction and growth, people and place, and how a single space can hold countless stories across different moments in time. 

A hand embellished element is inspired by the overhead tram wires that cut through Lisbon’s streets. This gesture is intentional, a way of marking my physical presence within the work, acknowledging that the piece is not just about the city, but about my experience of being there. Just as the city left its mark on me, I wanted my hand to be visible in the final image."

Al Maser.

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.