Card Stock Paper

Night Time Manila Yellow Silkscreen Print by Dalek- James Marshall Hand-Pulled 14-Color on French Manila Yellow Kraft Cardstock Paper Limited Edition Artwork. 2023 Signed & Numbered Limited Edition of 15 Artwork Size 18x24 Silkscreen Print Night Time Manila Yellow Edition Night Time Manila Yellow Silkscreen Print by Dalek – James Marshall James Marshall, known in the art world as Dalek, brings his unmistakable aesthetic into radiant focus with the 2023 silkscreen edition “Night Time Manila Yellow.” This limited release, printed on French Manila Yellow Kraft cardstock, measures 18x24 inches and is restricted to a rare edition of only 15. Each hand-pulled screen print uses 14 carefully layered colors to construct an explosive and hypnotic composition that is as precise as it is playful. The print is signed and numbered by the artist, anchoring its place in the collector-driven Street Pop Art & Graffiti Artwork universe. Mechanized Play and Surreal Symbolism Dalek’s signature Space Monkey figures remain central to this print, yet here they multiply and entangle in a world of robotic mechanisms, riotous shapes, and layered structures. “Night Time Manila Yellow” feels like a visual symphony of saturation, with teal, fuchsia, neon yellow, and black elements collapsing into one another across a dreamlike grid. The figures wield mallets, spears, and geometric props, each one seemingly locked into an urgent task. This sense of choreography and visual automation transforms the print into more than a character study—it's an elaborate stage of organized chaos, one that balances between subconscious memory and futuristic design. Precision in Color and Structure The richness of this 14-color silkscreen process gives the artwork a luminous depth and tactile presence. Dalek’s use of French Manila Yellow cardstock as the paper base imbues the piece with a warmer, vintage sensibility—subtly grounding the neon, cartoon-drenched chaos that dominates the surface. The meticulous layering of color demonstrates Dalek’s technical discipline as well as his commitment to producing high-fidelity editions. Bold curves, repeating circular motifs, and structured overlaps give the artwork a sense of mechanical rhythm, echoing visual strategies seen in Op Art and Constructivism, but reimagined through a Street Pop Art lens. Color Theory Meets Urban Noise “Night Time Manila Yellow” stands as a contemporary artifact of street culture’s evolution into collectible fine art. Dalek’s work is deeply rooted in his early exposure to graffiti and punk iconography, yet here, his visual language has matured into complex architectural compositions. The use of saturation, repetition, and robotic characters reflects a commentary on technology, identity, and consumption, though without didacticism. The viewer is left to interpret the orchestration of symbols on their own terms. The balance between childlike excitement and structured precision makes this piece a compelling addition to Dalek’s growing body of highly sought-after silkscreen editions. With its rare edition count, rich color layering, and frenetic design, “Night Time Manila Yellow” is a defining example of modern screen printing intersecting with visual rebellion. It is a print that demands attention and invites exploration—a layered map of energy, control, and disintegration in full color.

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Night Time Cotton Candy Silkscreen Print by Dalek- James Marshall Hand-Pulled 14-Color on French Cotton Candy Kraft Cardstock Paper Limited Edition Artwork. 2023 Signed & Numbered Limited Edition of 15 Artwork Size 18x24 Silkscreen Print Night Time Cotton Candy< Edition Night Time Cotton Candy Silkscreen Print by Dalek – James Marshall Dalek, the moniker of American artist James Marshall, returns with a sugar-rush symphony of geometry and color in “Night Time Cotton Candy,” a 2023 silkscreen edition crafted with meticulous hand-pulled precision. Printed on French Cotton Candy Kraft cardstock and sized at 18x24 inches, this limited edition of only 15 is signed and numbered by the artist. The print explodes with a joyful riot of saturated tones, anchored by Dalek’s iconic Space Monkey characters, which appear like mechanized avatars of urban energy and consumer commentary. Hyperstructure Meets Playful Chaos “Night Time Cotton Candy” is a dazzling example of visual complexity. Built through 14 individually pulled screens, the composition unfolds like a futuristic blueprint mashed with childhood iconography. Dalek’s Space Monkeys march and float through layers of concentric circles, mechanical appendages, and retro-futuristic gadgets. This visual symphony is rendered in a vivid palette of bubblegum pinks, bright aqua blues, highlighter yellows, and inky blacks. The Cotton Candy color base gives the entire work a surreal glow, as if the whole scene exists on the outer rim of a neon-lit dream. Despite the childlike exuberance of the figures and palette, the architectural arrangement and robotic motion convey themes of precision and repetition. The overall effect is a commentary on rhythm, routine, and the mechanical aspects of modern life, veiled in the soft aesthetics of confectionery joy. Dalek harnesses the dualities of cuteness and control, of chaos and symmetry, creating an aesthetic tension that elevates the print beyond decorative abstraction. Technical Discipline in the Print Studio Silkscreening at this level demands absolute control. Each of the 14 color layers must align with pinpoint accuracy, especially in a piece as intricate and tightly composed as this. The crisp layering of hard-edged lines, flat fills, and gradients reveals Dalek’s mastery not only as a designer but as a technician. The French Cotton Candy Kraft paper used as the base further enhances the visual harmony, offering a soft tint that complements the vibrant pigments without overpowering them. The surface is smooth, the print is saturated without being bloated, and each section interacts like cogs in a kinetic sculpture. The process reflects the graffiti artist’s foundational respect for precision and rhythm, reinterpreted through the lens of Street Pop Art & Graffiti Artwork. Dalek’s Visual Philosophy and Collectible Allure James Marshall’s artistic legacy is deeply rooted in the language of street art, psychedelia, anime, and mathematical form. “Night Time Cotton Candy” is an evolved meditation on those sources. It feels like a remix of old-school rave flyers, Atari-era graphics, and mechanical illustrations, transformed into a collectible fine art object. The Space Monkey character is more than a mascot—it is a cultural transmitter, speaking to cycles of identity, media overload, and hyper-stimulation. With only 15 editions in existence, this piece is a rare and powerful acquisition. For collectors, it serves not just as a snapshot of Dalek’s signature visual style but as a statement of where street art and pop surrealism intersect in today's market. “Night Time Cotton Candy” encapsulates an ethos of playful critique, rendered with the discipline of a master printmaker.

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First Time Limited Edition 2-Color Hand-Pulled Silkscreen Print on Fluorescent Pink, Fluorescent Green Archival White Cotton Cardstock by MFG- Matt Goldman Graffiti Street Artist Modern Pop Art. Inspired by Roy Lichtenstein's "Explosion," this print was the show poster for a collection MFG- Matt Goldman made with DIESEL for my first show. The fluorescent links and bright white paper are designed to shine in blacklight but stay pretty bright in the light of day. Best framed with a 1" solid black. 18 x 18 inches Screen Print Fluorescent Pink, Fluorescent Green Archival White Cotton Cardstock Edition of 80 Released 2008 Signed and numbered by MFG- Matt Goldman .

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Marching to Oblivion Blue Raspberry Silkscreen Print by Dalek- James Marshall 13 Color Hand-Pulled on Blue Raspberry Card Stock Fine Art French Paper Co Limited Edition Screenprint Artwork. 2025 Signed & Numbered Limited Edition of 12 Artwork Size 18x24 Silkscreen Print Marching to Oblivion Blue Raspberry by Dalek (James Marshall) in Street Pop Art & Graffiti Artwork Marching to Oblivion Blue Raspberry is a limited edition silkscreen print released in 2025 by American artist James Marshall, known professionally as Dalek. Measuring 18 by 24 inches, this vibrant screenprint was produced in a small run of twelve, each signed and numbered by the artist. Printed by hand using thirteen colors on Blue Raspberry card stock from the French Paper Company, this work demonstrates the technical precision and conceptual intent that Dalek brings to Street Pop Art & Graffiti Artwork. Marshall first gained recognition for his Space Monkey character, which served as a foundation for his exploration of identity, repetition, and urban visual culture. This piece reflects his continued evolution through high-contrast compositions, bold color fields, and animated character design rooted in both street art and contemporary pop aesthetics. Visual Language and Character Aesthetics The central figure in Marching to Oblivion Blue Raspberry is a hyper-energized creature with bright green limbs, circular mouse-like ears, and a wide, exaggerated mouth punctuated with polka-dot colors. The character is captured mid-motion, rhythmically juggling toy-like mallets while dancing atop a minimalistic gray platform. The cyan-blue background offers striking contrast, pushing the character forward in a burst of visual noise and balance. Each limb and accessory has been carefully positioned to evoke movement, volume, and rhythm without relying on traditional depth cues. This precise, graphic composition speaks to Dalek’s background in illustration and graffiti, where storytelling often happens in frozen frames of chaos. The use of bright, flat colors, iconic shapes, and cartoon logic aligns this piece firmly within Street Pop Art & Graffiti Artwork, blending urban visual codes with gallery-level execution. Material Process and Printmaking Precision Executed through a thirteen-color hand-pulled silkscreen process, this print demonstrates a refined commitment to craft and color theory. The Blue Raspberry cardstock provides an unconventional foundation that transforms the background into an active visual element rather than a passive support. This material choice amplifies the fluorescent color palette while maintaining a sense of tactile richness. Each ink layer was applied manually, reinforcing the physical labor often associated with graffiti and mural practices. The careful registration and color saturation required for this level of quality elevate the piece to a standard of contemporary printmaking rarely achieved in editions this small. The hand-pulled nature of the print ensures that subtle variations exist between each copy, emphasizing the importance of uniqueness even in a multiple. Cultural Relevance and Street Pop Evolution Dalek’s Marching to Oblivion Blue Raspberry serves as more than a static image—it operates as a cultural document of the fusion between street energy and pop precision. James Marshall continues to explore visual intensity without sacrificing clarity or depth. His art speaks to the performative and repetitive aspects of daily life, represented through his chaotic yet controlled characters. The tension between play and purpose, repetition and spontaneity, mirrors the structure of graffiti itself: repetitive tags, ritualistic motion, and bursts of controlled energy in public view. This print brings those values to the collector’s wall without erasing their roots. It exists within Street Pop Art & Graffiti Artwork as both homage and innovation, offering a clean yet electric artifact that speaks directly to audiences familiar with the pulse of contemporary visual culture.

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Marching to Oblivion Nightshift Silkscreen Print by Dalek- James Marshall 13 Color Hand-Pulled on Nightshift Card Stock Fine Art French Paper Co Limited Edition Screenprint Artwork. 2025 Signed & Numbered Limited Edition of 12 Artwork Size 18x24 Silkscreen Print Marching to Oblivion Nightshift by Dalek (James Marshall) in Street Pop Art & Graffiti Artwork Marching to Oblivion Nightshift is a 2025 limited edition silkscreen print by American artist James Marshall, known professionally as Dalek. This hand-pulled screenprint is executed in thirteen colors on Nightshift Blue cardstock provided by the French Paper Company, a material choice that adds depth and richness to the saturated neon palette. Each print in the edition of twelve measures 18 by 24 inches and is signed and numbered by the artist. Dalek is recognized for his ability to merge the graphic power of graffiti with the conceptual nuance of contemporary pop aesthetics. This print exemplifies his approach, featuring a character in mid-march across a minimal platform, caught in a moment of chaotic animation. It continues the tradition of Dalek’s hybridization of Street Pop Art & Graffiti Artwork, offering a fusion of hand-crafted technique, cartoon logic, and layered commentary on repetition, identity, and movement. Character Design and Color Theory in Motion The character in Marching to Oblivion Nightshift is an evolved iteration of Dalek’s signature Space Monkey figure, which first appeared in his early 2000s work. Rendered in high-contrast greens, purples, and blues, the figure juggles mallets and orbs with an expression that suggests manic joy or mechanical precision. The forms are sharp yet playful, occupying a visual space between Saturday morning animation and the visual codes of graffiti tagging. The character’s exaggerated limbs, oversized eyes, and dynamic posture project energy and volume, qualities central to Street Pop Art & Graffiti Artwork. These forms emerge from the background with crisp clarity due to the precision of screenprint layering, where each color is added by hand in sequence. The piece plays with spatial depth and surface illusion, making it both a spectacle and a meditation on repetition and performance. Materials and Printmaking Craft Dalek’s commitment to fine art printmaking is evident in the level of detail and control required to produce a 13-color silkscreen on dark-toned French Paper. The Nightshift Blue stock is a deliberate departure from traditional white backgrounds, offering a deep foundation that intensifies the vibrancy of the neon inks. This technical choice enhances contrast while grounding the character in a nocturnal atmosphere. The hand-pulled process not only honors the roots of street art as a physical and labor-intensive form, but also situates the piece within a lineage of craft-based art making. Every color alignment, registration mark, and clean edge testifies to the labor behind the image, making each edition both a finished work and a documentation of process. Within the context of Street Pop Art & Graffiti Artwork, this commitment to print fidelity mirrors the hand-painted dedication of murals and throw-ups. Contemporary Positioning and Artistic Intention Marching to Oblivion Nightshift exists at a crossroad of character art, street culture, and fine art editioning. James Marshall continues to define a unique visual territory where his characters do not speak with words but with posture, movement, and repetition. This silence allows viewers to project their own narratives onto the scene, creating a dialogue that aligns with the viewer-driven ethos of street art. The tension between joy and oblivion in the title suggests a deeper reflection on routine, spectacle, and distraction in modern life. By issuing this work in a deliberately limited edition of twelve, Dalek emphasizes the importance of intention and scarcity, key concepts that contrast with the reproducibility of digital imagery. Through projects like Marching to Oblivion Nightshift, Dalek strengthens the voice of Street Pop Art & Graffiti Artwork as a serious, evolving discipline capable of combining critical theory, visual pleasure, and masterful production.

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