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Sewer Shreddin Artwork Giclee Limited Edition Print on Fine Art Paper by Pop Culture Graffiti Artist Brandon Sopinsky.

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No-Longer Bart Archival Print by Alex Pardee Limited Edition Print on Fine Art Paper Pop Artist Modern Artwork. 2023 Signed & Numbered Limited Edition of 100 Artwork Size 24x18 Archival Pigment Fine Art "No-Longer Bart" is an archival print by the artist Alex Pardee, known for his unique, twisted, and darkly humorous illustrations. Alex Pardee's work often incorporates popular culture icons, such as characters from The Simpsons, in bizarre and distorted forms that challenge viewers' perceptions and emotions. The "No-Longer Bart" print features a warped and unsettling rendition of the beloved character Bart Simpson, whose image has been altered to align with Pardee's signature style. Alex Pardee's archival prints are typically produced with high-quality materials to ensure the longevity and preservation of the artwork.

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Jake the Snake- Color Edition Artwork Giclee Limited Edition Print on Fine Art Paper by Pop Culture Graffiti Artist Brandon Sopinsky. Designer Con 2013 Exclussive.

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Happy OG San F30 Hand Embellished HPM Giclee Print by OG Slick Artwork Limited Edition Print on Deckled 310gsm Fine Art Paper Hand Embellished Print Graffiti Pop Street Artist. 2025 Signed & Numbered HPM Hand Embellished by OG Slick Giclee & Spray Paint Limited Edition of 25 Artwork Size 30x30 HPM Hand Embellished Giclee Print. Splatter pattern, strokes and paint color to hand embellish varies. EVERY HPM IS UNIQUE. YOU MAY NOT RECEIVE THE ONE IN THE PHOTO, CHOSEN AT RANDOM. Happy OG San F30 by OG Slick: Sticker Bomb Rebellion in Street Pop Art & Graffiti Artwork Happy OG San F30 is a 2025 hand-embellished giclee print by West Coast graffiti innovator OG Slick. Released in an extremely limited edition of only 25, this 30x30 inch print is executed on 310gsm deckled fine art paper and enhanced individually by hand with spray paint, splatter, and stencil work. Each version is signed, numbered, and uniquely altered, turning every piece into a one-of-one collectible. The imagery is anchored by OG Slick’s instantly recognizable happy face character with an eyepatch, surrounded by a wall of bombed stickers—layered logos, graffiti tags, and Japanese script overlaid in chaotic repetition. The background pulses with energy and contradiction, channeling the language of street saturation into the framework of gallery presentation, firmly anchoring this work within the domain of Street Pop Art & Graffiti Artwork. Graffiti Identity and Urban Overload At the center of Happy OG San F30 is a three-dimensional illusion of Slick’s mascot-style smiley face, set against a cluttered backdrop of stickers and branding. The character’s face is mischievous and iconic—bright yellow, eyepatched, and grinning—set deep into a surface of repeated OG Slick tags, gloved hands, Japanese type, and portrait-style graphics. These elements, often seen wheatpasted across real city walls, are turned into a visual mosaic of cultural imprint. Each piece from the edition features variations in embellishment—some drenched in white-out buffing drips, others slashed with graffiti textures and flares of color. This intentional randomness echoes the street’s unpredictability and the performative nature of tagging, remixing, and rewriting public space. In Street Pop Art & Graffiti Artwork, identity is layered and questioned, and this piece captures that through repetition and distortion of self-referential branding. OG Slick’s Signature Blend of Humor and Rebellion OG Slick, based in Los Angeles with roots in Hawaii, has spent decades merging graffiti technique with pop culture critique. His work has long balanced playful iconography—like his recurring glove and smiley face figures—with gritty rebellion. In Happy OG San F30, Slick tackles the commercialization of graffiti itself, packaging it as fine art without compromising the aggressive messiness that gives it power. The sticker-bomb aesthetic recalls DIY zine culture, punk graphics, and urban tagging. It creates a claustrophobic yet rhythmic canvas that mimics actual urban surfaces layered over time. The eyepatch on the smiley face injects attitude and defiance into what might otherwise feel nostalgic or naïve. It’s a declaration: this is not just happiness, it’s earned chaos. Limited Edition Print as Urban Object and Subversive Gesture Printed with high-resolution giclee techniques and hand-embellished with spray and buff, each copy of Happy OG San F30 serves as a tactile collision between fine art and unsanctioned creativity. The deckled edges and archival-quality paper elevate the print’s object status, while the embellishments make every piece unstable, immediate, and alive. The randomness of spray, layering, and buffing across the edition mirrors the real-world ephemerality of graffiti—where no wall stays the same, and no tag is sacred. OG Slick invites collectors into a moment of street chaos preserved on paper, where symbols of rebellion are recast as aesthetic icons. As a component of Street Pop Art & Graffiti Artwork, this print acts as both artifact and intervention—marking where subculture meets spotlight and turning visual overload into something permanent, beautiful, and defiant.

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Graffiti Happy V30 Hand Embellished HPM Giclee Print by OG Slick Artwork Limited Edition Print on Deckled 310gsm Fine Art Paper Hand Embellished Print Graffiti Pop Street Artist. 2025 Signed & Numbered HPM Hand Embellished by OG Slick Giclee & Spray Paint Limited Edition of 25 Artwork Size 30x30 HPM Hand Embellished Giclee Print. Splatter pattern, strokes and paint color to hand embellish varies. EVERY HPM IS UNIQUE. YOU MAY NOT RECEIVE THE ONE IN THE PHOTO, CHOSEN AT RANDOM. Graffiti Happy V30 by OG Slick: A Subversive Emblem in Street Pop Art & Graffiti Artwork Graffiti Happy V30 is a 2025 hand-embellished HPM giclee print created by acclaimed graffiti and street pop artist OG Slick. Limited to just 25 signed and numbered pieces, each 30x30 inch print is executed on 310gsm fine art paper with deckled edges and customized with spray paint splashes, brush strokes, and unique markings. While the giclee base maintains the integrity of the original image, each embellishment transforms it into a one-of-a-kind statement piece. At the heart of the work is a mutated version of the iconic yellow smiley face—a symbol long associated with innocence, peace, and pop culture—now visually sabotaged with graffiti expression. This artwork, with its glossy yellow surface and overlaid visual noise, becomes an artifact of commentary, mood, and contradiction within the language of Street Pop Art & Graffiti Artwork. Visual Strategy and Cultural Subversion The central image in Graffiti Happy V30 is OG Slick’s rendition of a yellow smiley face, instantly recognizable and historically tied to commercial branding, rave culture, and feel-good iconography. Here, the smile is intentionally distorted, painted across a vivid yellow canvas, with asymmetry and aggressive linework interrupting the synthetic cheer. The face's cheerful eyes are disrupted by scrawled black lines and harsh green sprays—tags that cut across the familiar and inject raw spontaneity into the polished symbol. Slick’s embellishment with dripping paint, overspray, and stenciled geometry fractures the illusion of perfection. The result is not a destruction of joy but a reframing of it, challenging viewers to question the simplicity of happiness in a chaotic, commercialized world. In Street Pop Art & Graffiti Artwork, this type of visual intervention forces public symbols to engage with personal expression, decay, and rebellion. OG Slick’s Technique and Street-Born Aesthetic OG Slick is a legendary figure in the Los Angeles graffiti movement whose career has been built on visual appropriation and redefinition. Known for inserting street sensibilities into polished imagery, Slick’s work navigates the space between satire and sincerity. In Graffiti Happy V30, he uses the giclee medium to maintain visual clarity while applying real-world graffiti techniques—splatter, masking, and drip work—directly onto each print. The HPM format ensures every copy is a standalone piece, marked with personal visual decisions made in-studio. Slick’s choice to work with the smiley face further deepens his dialogue with pop iconography, questioning its ubiquity and forced cheer. The print’s embellishments challenge the artificiality of corporate happiness and suggest an alternate narrative where happiness is imperfect, unpredictable, and at times aggressively painted over. Limited HPM Print as Urban Commentary Graffiti Happy V30 is a limited edition object that merges the high-end collectible world with the street’s unsanctioned urgency. Each print in the series is delivered with unpredictable markings—layers of paint splatters, harsh angle strokes, and incidental drips—that bring the chaos of outdoor walls into the structure of a fine art frame. The hand embellishment process ensures authenticity and visual energy, with each piece chosen at random to highlight uniqueness. The deckled paper adds a tactile edge to the piece, enhancing its position as both print and sculpture. Within the broader context of Street Pop Art & Graffiti Artwork, this edition operates not just as a visual remix but as a provocation—forcing its viewers to reassess joy, branding, and the mask of civility under the raw filter of urban commentary. OG Slick’s print does not simply depict a smile; it questions whether that smile has been earned, or painted on.

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ASVP Figure No 15 Artwork Giclee Limited Edition Print on Fine Art Paper by Pop Culture Graffiti Artist ASVP. Limited edition print based on one of the first designs from our SUPER MATTER series. Embossed, Signed & Numbered on face in pencil Year: 2018 Edition: 100 Size: 18” x 24" Medium: Ultrachrome Inkjet Print Stock: Epson Legacy Etching, 300 gsm, 100% Cotton Rag

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Snitches Get Stitches Methadone Original Acrylic Painting by Ben Frost One of a Kind Artwork on Upcycled Pharmaceutical Methadone Drug Packaging by Street Art Pop Artist. 2025 Signed Acrylic Painting Original Artwork Size 6.9x8.6 on Reclaimed/Upcycled Methadone Drug Packaging. Stylized Stitch from Lilo & Stitch. Snitches Get Stitches: The Subversive Original by Ben Frost Ben Frost, a contemporary Australian artist known for his razor-sharp juxtapositions, continues to challenge cultural norms with his 2025 one-of-a-kind original titled Snitches Get Stitches. This acrylic painting is a direct application of Frost's signature aesthetic, merging pop iconography with pharmaceutical detritus. The artwork features a stylized, hyper-expressive rendition of Stitch from Disney’s Lilo & Stitch, hand-painted over upcycled methadone packaging measuring 6.9 x 8.6 inches. By using reclaimed drug containers as his canvas, Frost transforms discarded clinical waste into confrontational, high-contrast Street Pop Art & Graffiti Artwork. Pop Surrealism Meets Pharmaceutical Critique The artwork takes the viewer into an uncanny space where innocence and institutionalized control collide. Stitch, depicted in a manic, tongue-out pose, becomes the perfect stand-in for chaos within a tightly regulated system. Methadone packaging, typically linked to addiction treatment and regulatory control, becomes a new battleground for Frost’s visual rebellion. The sharp lines of commercial branding and dosage information clash against the whimsical, cartoonish character, forming a potent juxtaposition that critiques both consumer addiction and commodified escapism. The use of pharmaceutical packaging is not arbitrary. Frost consistently sources his materials from real-world clinical products, embedding layers of commentary on the commodification of health, the packaging of dependency, and the visual language of trust. By painting directly on the box that once held medication for opioid dependency, Frost questions how both pharmaceuticals and media serve as palliatives for society’s deeper ailments. Ben Frost’s Weaponization of Nostalgia Frost is known for dissecting the nostalgia economy—his work tears apart the sentimentality we assign to childhood icons by throwing them into harsh, adult contexts. In this piece, Stitch becomes an emblem of rebellion, recast not as a cuddly alien companion but as a mischievous agent of disruption amid medical sterility. The title Snitches Get Stitches adds further bite to the message. It's a coded nod to subcultural ethics, resistance to authority, and retaliation against betrayal, wrapped in the visual candy of a beloved animated figure. This weaponized nostalgia is central to Frost’s practice. He blends vintage comics, anime, and cartoon branding with medical advertising and capitalist excess to create a saturated feedback loop of mass culture. His works are instantly digestible but deliberately laced with critical aftertaste. Snitches Get Stitches fits perfectly into this lineage, continuing the artist’s commitment to peeling back layers of comfort to expose a system dependent on sedative imagery and chemical coping. Upcycled Packaging as Contemporary Canvas Reclamation is integral to the ethics and visual appeal of this artwork. Upcycled pharmaceutical packaging serves not only as material but also as message. The literal recycling of objects used in the treatment of addiction becomes symbolic of the broader process of cultural reconditioning. In Street Pop Art & Graffiti Artwork, the surface is never neutral. Frost’s choice of methadone box repositions trash as testimony and forces viewers to reconsider where art belongs and what it is allowed to critique. With Snitches Get Stitches, Ben Frost continues his radical fusion of medical-industrial commentary and pop surrealist distortion, offering a disruptive, collectible artifact that sits at the intersection of vandalized commercial design and fine art provocation. The work’s scale, material honesty, and iconic visual language make it not only a standout within Frost’s 2025 output but also a snapshot of a culture caught between sugar-coated rebellion and controlled dependency.

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I'm Sick Of That Fake Thug Dead Prez Silkscreen Print by Mark Drew Hand-Pulled on Fine Art Paper Limited Edition Artwork. 2019 Signed & Numbered Limited Edition of 200 Artwork Size 17x11 Silkscreen Print of Lucy van Pelt & Pig Pen Thinking "I'm Sick Of That Fake Thug RNB Rap Scenario" Mark Drew's Street Pop Commentary through Peanuts and Dead Prez Mark Drew’s 2019 silkscreen print titled I'm Sick Of That Fake Thug serves as a sharp and insightful fusion of music culture and nostalgic cartoon imagery. Known for his signature remixing of Peanuts characters with classic hip-hop lyrics, Drew pulls from the revolutionary voice of Dead Prez to create a vivid commentary on authenticity and street culture within the music industry. This hand-pulled silkscreen edition, limited to 200 signed and numbered pieces, measures 17 by 11 inches and utilizes bold visual contrast to reinforce its message. The print features Lucy van Pelt and Pig Pen in a stark black outline against a warm yellow-and-white backdrop, where Drew captures a moment of critique from Dead Prez's lyricism, visually anchoring it within the innocence of Schulz’s comic strip. Stylistic Juxtaposition and Cultural Subversion The work thrives on juxtaposition. The childlike familiarity of Peanuts is set against one of the most politically charged and socially aware hip-hop acts of the 2000s. Pig Pen, known for his disheveled appearance, is placed as the unexpected mouthpiece of frustration with inauthentic portrayals in the RNB and rap industry. This contradiction enhances the viewer’s engagement, forcing a reconsideration of cultural consumption. Drew’s consistent technique of overlaying vintage cartoon simplicity with potent hip-hop text transforms his prints into vehicles of cultural dialogue. This particular work uses its clean, silkscreened forms and expressive typography to deliver a punch of truth masked in humor and nostalgia. Process and Limited Format in Street Pop Art Executed as a traditional hand-pulled silkscreen print, Drew’s method aligns with the tactile history of street pop art and graffiti artwork. Each copy in this edition of 200 reflects the artist’s direct involvement and commitment to authenticity—ironically reinforcing the very critique embedded in the print’s message. The controlled color palette of black, yellow, and white gives the piece a visual rhythm that supports its lyrical source material while maintaining accessibility through recognizable characters. Drew’s prints are not mass-reproduced digital pieces but collectible fine art that maintains the rebellious soul of graffiti. Mark Drew’s Ongoing Hip-Hop Narrative Based in Tokyo, Mark Drew continues to elevate conversations around hip-hop, nostalgia, and cultural commentary through his street pop art works. His recontextualization of familiar American pop icons with global hip-hop culture continues to resonate across generations. By pairing Dead Prez’s critique with characters like Lucy and Pig Pen, Drew not only pays homage to lyricism and activism but also highlights how visual art can amplify the emotional and social truths found in music. Each print in this series carries not just artistic value, but a reflection of the ongoing dialogue between art, resistance, and authenticity.

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Inside Out Pop Modern Movie Artwork Limited Edition Giclee Print on Fine Art Paper by Pixar Graffiti Modern Artist Raid71. 2022 Official Pixar print Inside Out 18 x 24 Giclee Signed Hand-numbered edition

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