Doctor/Medical/Medicine

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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Kush XL 6in The Prisoner Flocked Drug Bear Art Toy by Luke Chueh Kickstarter Limited Edition Vinyl Collectible Artwork by Street Graffiti Artist. 2018 Limited Edition Artwork of 93 with Cotton, Bag, and Tube. Based on Luke Chueh's original painting, The Prisoner ponders captivity in its many forms: physical, mental, or pharmaceutical. Ultra Rare Kickstarter Exclusive Extra Large XL 6 Inch Edition. Kush XL 6in The Prisoner Drug Bear by Luke Chueh: Sculpting Emotional Confinement in Street Pop Art & Graffiti Artwork Kush XL 6in The Prisoner Drug Bear by Luke Chueh is a 2018 Kickstarter exclusive collectible, limited to just 93 pieces worldwide. This rare extra-large vinyl edition transforms Chueh’s signature bear into a more physically imposing yet equally vulnerable presence. At six inches tall and flocked in vibrant green, the figure sits hunched and withdrawn, arms wrapped tightly around its knees, tucked into a gesture of protective silence. This version is packaged inside a deep green prescription-style plastic tube, labeled under the fictional strain Kuma OG. Accompanied by a cotton-lined pouch and official labeling, the toy carries the visual weight of both clinical control and emotional solitude. As a part of the wider Prisoner series, this XL edition expands Luke Chueh’s ongoing critique of psychological and pharmaceutical confinement through the visual language of Street Pop Art & Graffiti Artwork. Material and Scale as Tools of Conceptual Impact The use of scale in the Kush XL version heightens the emotional potency of the figure. Unlike the smaller editions, which evoke delicacy and intimacy, this larger size commands more physical space, forcing viewers to confront the quiet suffering it represents. The flocked green surface adds a layer of visual contradiction, inviting touch while symbolizing the lush appearance of calm that often hides distress. The presentation in a prescription tube references the aesthetics of cannabis dispensaries and pharmaceutical packaging, placing the bear in the middle of society’s ongoing conversation about medication, trauma management, and alternative therapy. The prescription-style label contextualizes the bear as both patient and product, surrounded by the implied control of dosage, labeling, and clinical oversight. Within Street Pop Art & Graffiti Artwork, this kind of object challenges assumptions about what healing looks like and critiques the systems that monetize emotional relief. Luke Chueh and the Emotional Vocabulary of Toy-Based Street Pop Art Luke Chueh is a California-based artist known for using deceptively simple characters to convey deeply nuanced emotional states. His bear, a now-iconic symbol within his work, is never neutral. Whether painted or sculpted, it is always in the middle of a silent, internal dialogue. The Prisoner figure exemplifies Chueh’s practice of using posture, minimalism, and context to explore themes like depression, anxiety, addiction, and isolation. The Kush XL edition does not stray from these themes; rather, it amplifies them through texture and size. Chueh’s work belongs firmly within the Street Pop Art & Graffiti Artwork canon, not only for its visual accessibility but also for its bold engagement with contemporary mental health struggles. The bear is at once relatable and haunting, caught between comfort and despair, between treatment and dependency. The Prisoner as a Sculptural Statement on Mental Health and Control Kush XL 6in The Prisoner is more than a collectible art toy—it is a sculptural representation of cultural truth. Limited to just 93 Kickstarter-exclusive editions, it holds significant value for collectors, not only due to its rarity but because of its raw, unfiltered emotional messaging. The packaging is not ornamental. It is part of the narrative, reinforcing the figure’s status as a symbol of medicated containment. The green colorway and dispensary-themed label introduce a layered commentary about the growing normalization of cannabis as both relief and crutch, expanding Chueh’s critique beyond pharmaceuticals alone. Within Street Pop Art & Graffiti Artwork, the figure functions like a street mural in miniature form—portable, powerful, and socially conscious. With this XL edition, Luke Chueh elevates designer toys into platforms for mental health discourse, using vinyl, flocking, and form to hold a mirror to both personal vulnerability and systemic response.

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Feeling Down Charlie Brown Archival Print by Ben Frost Limited Edition on 310gsm Cotton Photographique Fine Art Paper Pop Graffiti Street Art Artist Modern Artwork. 2023 Signed & Numbered Print Limited Edition of 25 Artwork Size 11.7x11.7 Archival Pigment Fine Art by Ben Frost Drawing from a rich pop art tradition, artist Ben Frost pays homage to artists like Roy Lichtenstein and Andy Warhol by employing mass-produced images from advertising and media. However, what sets him apart is the gritty and raw energy in his work, often inspired by the rebellious and ephemeral nature of street art and graffiti. With a palette that’s as vibrant as it is challenging, his art creates a dialogue between the polished facade of consumer products and the grim realities they often mask. Through his jarring compositions, Frost raises questions about the nature of modern society, the pervasiveness of advertising, and the commodification of culture and identity. His bold, confrontational style makes him an important figure in the contemporary art world, and his works are revered by collectors and art enthusiasts worldwide.

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Kuma Kush The Prisoner Cannabis Drug Bear Art Toy by Luke Chueh Limited Edition Vinyl Collectible Artwork by Street Graffiti Artist. 2017 Limited Edition Artwork of 300 with Cotton, Bag, and Tube. Based on Luke Chueh's original painting, The Prisoner ponders captivity in its many forms—physical, mental, or pharmaceutical. Post-traumatic stress disorder is a mental health problem that can develop after experiencing or witnessing a life-threatening event like combat, natural disaster, car accident, or sexual assault. And the dependency on prescription medications such as Percocet has led to widespread addiction problems. Kuma Kush The Prisoner by Luke Chueh: Cannabis and Emotional Captivity in Street Pop Art & Graffiti Artwork Kuma Kush The Prisoner is a limited edition vinyl art toy created by Los Angeles-based artist Luke Chueh in 2017. Produced in a run of 300 pieces, each figure comes housed in a green translucent prescription-style container with a cotton bag and printed label that mimics cannabis dispensary packaging. This collectible is part of Chueh’s The Prisoner series, which adapts his original painting into three-dimensional vinyl form. The figure features a seated bear, legs folded, arms wrapped tightly around its knees, and head lowered in a pose of silent withdrawal. This turquoise green edition—nicknamed Kuma Kush—shifts the narrative focus toward cannabis as a coping mechanism, inviting reflection on the psychological implications of alternative medication and emotional dependency. Deeply rooted in the language and symbolism of Street Pop Art & Graffiti Artwork, this piece turns a seemingly cute figure into a deeply evocative emotional sculpture. Color, Form, and Packaging as Social Commentary The choice of a green plastic tube traditionally associated with cannabis storage turns the bear into a commentary on escapism, self-medication, and the search for relief from psychological pain. The strain title, Kuma Kush, plays off both pop culture and medical terminology, combining a playful exterior with a serious undertone. Chueh’s bear figure, rendered in a mint green hue, is static and introspective, trapped in both its physical posture and the symbolic enclosure of the container. The aesthetic is clean, minimal, and emotionally weighted. This visual restraint is a core part of the artwork’s impact—Chueh uses silence and stillness to speak volumes. The bear is not a mascot but a vessel, representing the emotional burden many carry in silence. By situating the toy inside medical-themed packaging, Chueh makes the container an extension of the piece, turning object presentation into a narrative device consistent with the provocative nature of Street Pop Art & Graffiti Artwork. Luke Chueh and the Art of Emotional Exposure Luke Chueh has become a leading voice in contemporary pop and street-influenced art through his exploration of mental health, addiction, and vulnerability. His iconic bear figures have become universal symbols of struggle, designed to elicit empathy without the need for words. In Kuma Kush The Prisoner, Chueh introduces cannabis culture into his ongoing narrative about emotional suppression and dependency. This is not a celebration or condemnation of cannabis but an observation on how individuals turn to substances—legal or otherwise—to cope with trauma, anxiety, and post-traumatic stress disorder. Chueh’s approach is neither cynical nor romanticized. It exists within the gray areas where emotion, coping, and survival intersect, which places his work at the forefront of Street Pop Art & Graffiti Artwork that engages social issues through emotionally resonant design. The Prisoner Series as Art Object and Cultural Reflection Kuma Kush The Prisoner functions as both a collectible and a statement, its limited release of 300 making it both rare and conceptually potent. The figure, while small in scale, delivers a message that expands far beyond its dimensions. It sits not just in display cases but in the minds of viewers, acting as a quiet companion to those navigating emotional heaviness. Through minimalist form and emotionally charged symbolism, Luke Chueh elevates the collectible vinyl toy to a piece of psychological sculpture. As part of the Street Pop Art & Graffiti Artwork movement, the Prisoner series—and this Kuma Kush edition in particular—demonstrates how visual art can confront difficult truths about medication, trauma, and human vulnerability without sacrificing aesthetic simplicity or emotional clarity.

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Goof Ball Archival Print by Ben Frost Limited Edition on 310gsm Cotton Photographique Fine Art Paper Pop Graffiti Street Art Artist Modern Artwork. 2023 Signed & Numbered Print Limited Edition of 25 Artwork Size 11.7x11.7 Archival Pigment Fine Art by Ben Frost Ben Frost is an Australian artist whose oeuvre is a scintillating fusion of pop art, street art, and graffiti art. Renowned for his visually striking and thought-provoking pieces, Frost’s work often incorporates iconic imagery from mainstream media and consumer culture. His subversive art is characterized by the juxtaposition of these symbols with themes of excess, addiction, and the superficiality and wastefulness of consumer culture. Infused with a critical edge and often laced with dark humor, his paintings, prints, and installations defy conventional aesthetics and present a chaotic and relentless assault on the senses. Goof Ball Archival Print by Ben Frost is an exemplary representation of the mélange between pop art and street art that has been taking the art world by storm. Ben Frost, an Australian artist renowned for his juxtaposition of commercial imagery and his own iconic style, often draws inspiration from the relentless bombardment of visual stimuli that constitutes the modern world. He has a predilection for utilizing vibrant colors and satirical commentary, which can be seen in the Goof Ball Archival Print. This piece specifically combines the aesthetic sensibilities of pop art, a movement characterized by its fascination with popular culture and consumer goods, with the edgy, raw, and often subversive nature of street art. Frost's Goof Ball Archival Print is captivating in its visual immediacy and use of iconic characters and logos. The inclusion of popular cultural symbols makes it relatable, while its brazen critique of consumer culture, inherent in the juxtapositions, lends it a certain depth. With the audacious strokes reminiscent of graffiti art, the work strikes a balance between the refined and the rebellious. It is a high-quality archival print, which ensures the longevity and preservation of the vivid colors that are a hallmark of Frost’s work. As a seminal piece in the contemporary fusion between pop, street, and graffiti art, Goof Ball Archival Print is an invitation to not just glance, but to analyze and introspect on the commentary it makes about our culture. This artistic gem, thus, warrants appreciation from both art aficionados and casual observers alike.

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Feels So Good Original Silkscreen Etching Print by D*Face- Dean Stockton Hand-Pulled on Wove Fine Art Paper Limited Edition Pop Street Art Artwork. 2009 Signed & Numbered Limited Edition of 1 Original Artwork Size 33x54 Silkscreen Etching Print Custom Framed D*Face (b. 1978) Feels So Good, c. 2009 Etching and screenprint in colors on wove paper 54 x 33 inches (137.2 x 83.8 cm) (sheet) Ed. 1/1 Signed and numbered in pencil along the lower edge. No apparent condition issues. Floated and framed under acrylic. Framed Dimensions 59 X 37.5 Inches

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Trivaac Inhalation Vaccine HPM Hand Made Limited Edition Mixed Media, Reclaimed Items, Spray Can Sculpture Artwork by graffiti street artist modern pop artist Eddie Colla. 2020 Signed & Numbered HPM Made & Printed Limited Edition of 30 Spray Paint Can Sculpture Artwork. These Are Art Pieces, They Are Not Medical Devices. "I originally made these fake inhalation vaccines as props for two installations I did with D Young V, Epilogue, and Memento Mori. The installations revolved around apocalyptic possibilities. These recycled Spray paint cans were meant to be discarded inhalation vaccines that the World Health Organization had distributed during a global pandemic. The labels contain information about application dosage and active ingredients. I did a lot of research regarding previous pandemics, such as H1N1 (bird flu). The idea was to create an artifact as real as possible to resemble a failed attempt to contain a global pandemic." Eddie Colla Artistic Representation of Global Pandemics Eddie Colla's "Trivaac Inhalation Vaccine" mixed media artworks reflect a hauntingly prescient take on global health crises through the lens of Street Pop Art and graffiti Artwork. This limited edition series, consisting of only 30 signed and numbered pieces, incorporates reclaimed items and spray paint cans to form sculptures that stand as poignant artifacts of apocalyptic possibilities. Created as part of two installations with fellow artist D Young V, "Epilogue" and "Memento Mori," Colla's sculptures were designed to represent discarded inhalation vaccines distributed by the World Health Organization during a fictional global pandemic. These installations explored themes of human vulnerability, societal collapse, and the interventions that come into play during such catastrophic events. The sculptures themselves, crafted to mimic the appearance and informational detail of real medical devices, resonate with the realism and urgency of a world grappling with the threat of pandemics. Colla's meticulous research into previous health crises, such as H1N1, informed the creation of this spray can sculpture. The labels on each canister are detailed with application dosage and active ingredients, contributing to the authentic feel of the pieces. This attention to detail not only enhances the visual impact of the sculptures but also embeds a narrative that ties them to the real-world context of public health emergencies. Cultural Commentary through Mixed Media The "Trivaac Inhalation Vaccine" sculptures starkly comment on the intersection of art, science, and societal response to global health challenges. By using reclaimed spray paint cans, Colla repurposes the mundane and aligns his work with the ethos of recycling and sustainability. These themes are increasingly relevant in contemporary discourse. These sculptures transform the spray can, a ubiquitous tool in street art, into a vessel of deeper meaning, reflecting on the throwaway culture and the implications of medical waste. This body of work also questions the efficacy and accessibility of healthcare interventions, highlighting the disparity between the intended purpose of medical devices and their actual implementation in crisis scenarios. Colla's sculptures suggest a history of use and urgency when these objects were vital to survival. The limited edition nature of these pieces emphasizes their uniqueness as artworks while alluding to the scarcity of resources that can occur in times of crisis. Street Pop Art & Graffiti Artwork's Evocative Power Eddie Colla's contribution to Street Pop Art and graffiti Artwork is characterized by his ability to evoke robust responses through objects that bridge art and reality. His sculptures are not passive objects; they are conversation starters that prompt viewers to think critically about the state of the world and our responses to impending dangers. In the tradition of street art, these works are accessible yet complex, visually striking yet laden with meaning. The "Trivaac Inhalation Vaccine" series underscores the evocative power of street pop art and graffiti to comment on and engage with current events. Through this series, Colla extends the narrative capabilities of street art beyond the walls and into the three-dimensional realm, offering a tangible connection to the issues that permeate our collective consciousness. In essence, Eddie Colla's "Trivaac Inhalation Vaccine" sculptures embody the innovative and reflective qualities of Street Pop Art and graffiti Artwork. By blending art with societal critique elements, Colla captures the imagination and ignites discourse, cementing his role as an artist who observes and participates in the broader conversations of our time. His work is a reminder of art's impact on interpreting, understanding, and questioning the world around us.

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Dissection of Goofy- Anatomy Sheet No 28 Hand-Pulled 1-Color Limited Edition Silkscreen Print on 300gsm Munken Pure Paper by Medical Pop Artist Nychos. 2018 Signed & Numbered Limited Edition of 200 11x17 Illustrated by NYCHOS 1-color Screen Print on 300 g/m² Munken Pure Paper Size: 11 x 17 Inches / 27,94 x 43,18 cm Limited Edition of 200 Year: 2018 Imprint & stamp of authenticity Numbered and signed by the artist The REM Anatomy Sheets focus on the anatomy of pop culture cartoon characters. In this new collection of black and white limited edition screenprints, Nychos lets the viewer engage with details of the anatomy of toons.

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Anatomy of the Horse- Anatomy Sheet No 11 Hand-Pulled 1-Color Limited Edition Silkscreen Print on 300gsm Munken Pure Paper by Medical Pop Artist Nychos. 2017 Signed & Numbered Limited Edition of 100 17x11 Illustrated by NYCHOS 1-color Screen Print on 300 g/m² Munken Pure Paper Size: 11 x 17 Inches / 27,94 x 43,18 cm Limited Edition of 100 Year: 2017 Imprint & stamp of authenticity Numbered and signed by the artist The REM Anatomy Sheets focus on the anatomy of 10 wild animals. In this new collection of black and white limited edition screenprints, Nychos lets the viewer engage with details of the anatomy of animals.

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Vicodin The Prisoner Drug Bear Art Toy by Luke Chueh Limited Edition Vinyl Collectible Artwork by Street Graffiti Artist. 2016 Limited Edition Artwork of 500 with Cotton, Bag, and Tube. Based on Luke Chueh's original painting, The Prisoner ponders captivity in its many forms—physical, mental, or pharmaceutical. Post-traumatic stress disorder is a mental health problem that can develop after experiencing or witnessing a life-threatening event like combat, natural disaster, car accident, or sexual assault. And the dependency on prescription medications such as Percocet has led to widespread addiction problems. Vicodin The Prisoner Drug Bear by Luke Chueh: Vinyl Manifestation of Pharmaceutical Despair in Street Pop Art & Graffiti Artwork Vicodin The Prisoner is a 2016 limited edition vinyl art toy by Luke Chueh, issued in a run of 500 pieces and packaged with a cotton pouch, prescription-style tube, and custom labeling. This stark and introspective collectible was inspired by Chueh’s original painting The Prisoner, a body of work that dives into the concept of captivity in multiple forms: psychological, emotional, and pharmaceutical. The figure depicts a small white bear, arms tightly clasped around bent knees, body hunched in a defensive posture. Packaged inside a mock prescription pill bottle labeled as Vicodin, the bear becomes a physical metaphor for dependency and the numbing of trauma through chemical means. Positioned within the language of Street Pop Art & Graffiti Artwork, this figure embodies the raw realities often glossed over by polished consumer narratives. Pharmaceutical Packaging as a Vessel for Emotional Truth Luke Chueh’s decision to enclose the figure in a standard orange pharmacy bottle transforms the toy into a symbolic sculpture. This packaging is not merely aesthetic—it is part of the art itself. The orange plastic container is commonly associated with healing and regulated care, but here it acts as a prison, locking the character in emotional silence. Labeled under the name Vicodin, a widely prescribed yet highly addictive opioid, the piece forces viewers to consider the thin line between treatment and entrapment. The bear’s blank expression and slouched body language amplify the emotional burden behind dependency. Minimalistic in execution yet powerful in message, the figure’s placement within Street Pop Art & Graffiti Artwork challenges the notion that toys must be joyful or harmless. Instead, Chueh offers an object that speaks to trauma, medication, and the often invisible emotional pain that comes with both. Luke Chueh’s Visual Language of Suffering and Identity Luke Chueh, an American artist based in Los Angeles, has become known for using simple, iconic figures to address themes of mental illness, personal pain, and societal pressure. His characters often appear soft and subdued, but they carry an immense emotional weight. In Vicodin The Prisoner, the white color of the bear reflects both clinical sterility and emotional numbness. Chueh’s approach is grounded in honesty and vulnerability, distilling complex experiences into forms that resonate widely. His influence within Street Pop Art & Graffiti Artwork comes from this ability to speak directly through sculpture, illustration, and narrative-driven toy design. Chueh’s bear functions not just as a character but as a stand-in for anyone struggling with emotional paralysis, depression, or the grip of addiction. The Prisoner Series as Commentary and Collector Artifact This limited edition release of 500 includes not just the vinyl bear, but a presentation designed to immerse collectors in its commentary. The pill bottle packaging, custom-labeled for Vicodin, mirrors the controlled environments from which many seek escape, but also become trapped. The cotton bag adds an additional layer of clinical detachment, as if the piece were a regulated prescription item rather than an expressive artwork. As part of The Prisoner series, this version adds to the ongoing discussion around trauma and pharmacology within the framework of Street Pop Art & Graffiti Artwork. It transforms a collectible into a statement, where the cute and the uncomfortable coexist, creating a powerful tension that defines the work of Luke Chueh. The bear sits still, silent, and confined—but its presence speaks volumes about a culture that medicates pain without always understanding it.

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I Heart NY Nerm Nermal Limited Edition Anatomy Vinyl Art Toy Collectible Artwork by Street Brand Artists Rip N Dip. 2022 Limited Edition of 150 Size 14-inch Nerm Nermal Vinyl Figure I Heart NY Dissected Art Toy. New In Box. 14 inch I Heart NY Lord Nermal Vinyl Figure Created To Celebrate Our New NYC Flagship Store Opening I Heart NY Heart printed on chest and Bottom Of Foot

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Four Tablets Daily Archival Print by Ben Frost Limited Edition on 310gsm Canson Cotton Rag Photographique Fine Art Paper Pop Graffiti Street Artist Modern Artwork. 2024 Signed & Numbered Print Limited Edition of 15 Artwork Size 11.7x11.7 Archival Pigment Fine Art Woman on a Pharmaceutical Package For Ritalin 10. Pharmaceutical Packaging as a Canvas in Street Pop Art & Graffiti Artwork Four Tablets Daily by Australian artist Ben Frost stands as a vivid and biting example of contemporary Street Pop Art & Graffiti Artwork. Executed as an archival pigment print on 310gsm Canson Cotton Rag Photographique paper, this 2024 limited edition artwork boldly merges the aesthetics of commercial pharmaceuticals with classic pop imagery. Frost’s distinctive style blends sleek, advertising-inspired visuals with themes of consumption, identity, and the numbing effects of modern medicine. Here, the artist uses an actual pharmaceutical box for Ritalin 10 as the foundation, transforming it into an ironic and haunting portrait of modern dependency and beauty ideals. The Fusion of Consumer Culture and Artistic Commentary Ben Frost, known for appropriating packaging, logos, and cultural symbols, uses this work to confront society’s relationship with prescription drugs and mass media. The print features the stylized face of a woman, her blue eyes and red lips reminiscent of mid-century comic book heroines, wrapped across the geometric restrictions of pharmaceutical packaging. The juxtaposition between her sensual, constructed gaze and the clinical language of Ritalin prescription labeling evokes tension between artificial pleasure and medical control. With the original packaging’s text left mostly intact, Frost allows the artwork to retain its original context—making the viewer uncomfortably aware that this isn’t just art, it’s also an artifact of real-world usage. Limited Edition Fine Art Meets Graffiti Pop Satire Printed in a highly exclusive edition of only 15 pieces, each one is signed and numbered by the artist. The dimensions of 11.7 x 11.7 inches make it a compact yet powerful artwork that distills Frost’s visual commentary into a sharp, satirical square. By using archival pigment methods on museum-grade cotton paper, the piece elevates the ephemeral nature of consumerism and street-level commentary into lasting fine art. The print exists at the intersection of collectible contemporary art and critical protest, channeling energy from both the gallery and the street. Ben Frost’s Distinct Role in Modern Pop and Graffiti Art Ben Frost is a Sydney-based street pop artist who has gained global recognition for his relentless critique of pop culture, pharmaceuticals, and consumer branding. His works have been exhibited in cities including London, New York, and Tokyo, and have become synonymous with post-pop critique. In Four Tablets Daily, Frost solidifies his place in contemporary graffiti pop art by weaponizing familiar formats and reshaping them into biting societal reflections. This piece, like much of his work, blurs the line between gallery presentation and street-level confrontation, forcing viewers to question their habits, their dependencies, and the carefully packaged visuals they consume daily.

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LushSux Condom- White Limited Edition Condom Art Collectible Artwork by street graffiti artist Lussux. 2013 Custom Condom Art Object Limited Edition, Not for use; this is artwork only! Unopened custom packaging from 2013 reads: Use This Condom Because I Don't Know What STD @Lushsux Gave Me...

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Dobermann Anatomy Archival Pigment Fine Art Limited Edition Print on Velvet Cotton Fine Art Paper by Artist Nychos, Street Pop Art Graffiti Legend. 2021 Signed & Numbered 24 x 24 inch / 61 x 61 cm Fine art print by NYCHOS Limited Edition of 111 Velvet Fine Art cotton fiber paper Hand-signed & numbered Nychos, an iconic figure in the world of street pop art and graffiti, presents a striking depiction of the Dobermann breed in his artwork titled "Dobermann Anatomy." Renowned for his unique anatomical explorations, Nychos delivers a layered perspective that delves deep into the physical structure of the canine, unravelling the layers from skeletal to muscular and finally the full-bodied representation of the Dobermann. The result is a captivating piece that marries scientific precision with artistic flair. Set against a muted teal backdrop, the sequential progression of the Dobermann from bone to flesh provides a detailed insight into the intricate anatomy of the dog. The vivid colors used to distinguish between the muscles, organs, and bones capture the viewer's attention, offering a visual treat that blurs the lines between educational illustration and pop art. The meticulously crafted details are a testament to Nychos's dedication to his craft, further establishing him as a master of his genre. Crafted in 2021, this fine art print stands as a testament to the evolution of street art, pushing the boundaries of what is traditionally expected from the medium. Measuring 24 x 24 inches, the artwork is printed on velvet fine art cotton fiber paper, ensuring longevity and a rich texture that complements the depth of the piece. As a limited edition release, there are only 111 pieces available, each of which is hand-signed and numbered by Nychos himself. For enthusiasts of street art, graffiti, or simply those fascinated by anatomy, this artwork offers a unique fusion of all, making it a valuable addition to any collection.

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Oxycontin The Prisoner Drug Bear Art Toy by Luke Chueh Limited Edition Vinyl Collectible Artwork by Street Graffiti Artist. 2017 Limited Edition Artwork of 300 with Cotton, Bag, and Tube. Based on Luke Chueh's original painting, The Prisoner ponders captivity in its many forms—physical, mental, or pharmaceutical. Post-traumatic stress disorder is a mental health problem that can develop after experiencing or witnessing a life-threatening event like combat, natural disaster, car accident, or sexual assault. And the dependency on prescription medications such as Percocet has led to widespread addiction problems. Oxycontin The Prisoner Drug Bear by Luke Chueh: Sculpting the Weight of Dependency in Street Pop Art & Graffiti Artwork Oxycontin The Prisoner is a limited edition vinyl art toy released in 2017 by Los Angeles-based artist Luke Chueh. Produced in a run of 300 pieces, each figure comes enclosed in a pill bottle-style tube with custom label design, cotton padding, and a bag. This piece belongs to Chueh’s emotionally raw and conceptually provocative The Prisoner series, which explores the psychological and chemical captivity imposed by trauma and prescription drug dependency. The figure, seated with arms wrapped around bent knees and head tilted in surrender, is rendered in pale pink vinyl, an intentionally vulnerable hue evoking fragility and exposure. This edition bears the pharmaceutical branding of Oxycontin, one of the most widely debated painkillers associated with both relief and addiction. Within the visual canon of Street Pop Art & Graffiti Artwork, this piece functions as a sculptural protest against the medicalization of mental health and the commodification of comfort. Pharmaceutical Captivity Encapsulated in Minimalist Design The use of the pill bottle as both packaging and contextual anchor is integral to the conceptual weight of Oxycontin The Prisoner. Rather than being decorative, it serves as a metaphorical cell. The orange plastic container, a familiar object in American medicine cabinets, becomes a prison of muted pain. The bear figure inside is soft in tone but rigid in posture, exuding silent anguish and immobility. Its simplified features are part of Luke Chueh’s signature visual style—clean, anthropomorphic, and emotionally loaded. The minimalist approach allows viewers to project their own experiences and emotional responses onto the character, whether that be isolation, anxiety, numbness, or resignation. In the tradition of Street Pop Art & Graffiti Artwork, this piece reclaims consumer iconography and transforms it into a statement about personal and collective mental health struggles. Luke Chueh and the Voice of Emotional Vulnerability in Contemporary Art Luke Chueh, born and based in the United States, has established himself as a leading figure in vinyl art culture and emotional visual narrative. His work consistently uses characters—especially his iconic bear—as symbols of psychological realism masked in pop iconography. Oxycontin The Prisoner deepens this approach by explicitly referencing the epidemic of opioid addiction and the reliance on pharmacological solutions for mental health issues such as post-traumatic stress disorder, depression, and chronic anxiety. Chueh’s work does not seek to offer resolution; instead, it offers recognition. The bear is not posed in resistance or hope but in stillness, reflecting the physical and emotional sedation often experienced by those relying on medications like Oxycontin. His use of sculpture within the Street Pop Art & Graffiti Artwork world broadens the category’s potential to include introspective, honest, and therapeutically charged storytelling. A Collectible of Pain and Awareness in Street Pop Art & Graffiti Artwork Oxycontin The Prisoner is not just a toy or a figure for display—it is a contemporary artifact that documents an era of widespread psychological struggle and the societal response to it. By combining collectible vinyl with real-world pharmaceutical references, Luke Chueh exposes the fragility that often lies beneath manufactured relief. The packaging, labeled with details that mimic prescription information, reinforces the institutional control surrounding mental health treatment. With only 300 produced, this edition is highly sought after, not only for its rarity but for its role in confronting important themes through tangible, expressive art. As part of The Prisoner series, it anchors Luke Chueh’s position in the Street Pop Art & Graffiti Artwork movement as a storyteller of the internal human experience, voiced through form, posture, and silence.

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Good To See You Henry Rollins 3-Color Hand-Pulled Limited Edition Silkscreen Print on Cream Speckletone Fine Art Paperby Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. 2022 Signed & Numbered Limited Edition of 250 Artwork Size 18x24 Silkscreen Print by Shepard Fairey- OBEY "My good friend Henry Rollins is on his “Good to See You” spoken word tour that kicked off earlier this year. I’ve collaborated with Henry many times. I’m constantly in awe and impressed by him. He is the hardest-working guy I know and stays up on social and political issues. I’m excited that he is on the road again and honored to design his 2022 tour art. The posters are available to purchase on his tour if you see him on the upcoming dates, signed by Henry and me." -Shepard Fairey

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Die Anatomie Archival Pigment Fine Art Limited Edition Print on Velvet Cotton Fine Art Paper by Artist Nychos, Street Pop Art Graffiti Legend. 2021Signed & Numbered Fine art print by NYCHOS Size: 24inch x 38,6inch / 61cm x 98cm Limited Edition of 111 Velvet Fine Art cotton fiber paper Hand-signed & numbered

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Percocet The Prisoner Drug Bear Art Toy by Luke Chueh Limited Edition Vinyl Collectible Artwork by Street Graffiti Artist. 2018 Limited Edition Artwork of 500 with Cotton, Bag, and Tube. Based on Luke Chueh's original painting, The Prisoner ponders captivity in its many forms—physical, mental, or pharmaceutical. Post-traumatic stress disorder is a mental health problem that can develop after experiencing or witnessing a life-threatening event like combat, natural disaster, car accident, or sexual assault. And the dependency on prescription medications such as Percocet has led to widespread addiction problems. The Poignant Message Behind 'The Prisoner - Percocet' Art Toy by Luke Chueh 'The Prisoner - Percocet' is a limited edition vinyl art toy that delivers a powerful commentary on the grips of addiction and the confines of mental health struggles. Created by the acclaimed street graffiti artist Luke Chueh, this 2018 artwork, limited to a series of 500, delves into the concept of captivity through physical bars and the often invisible chains of pharmaceutical dependence. This piece is based on Chueh's original painting, "The Prisoner," which portrays the sad reality that many individuals face post-traumatic stress disorder (PTSD) and prescription medication addiction, particularly to potent drugs like Percocet. Chueh's art toy is thought-provoking and captures the essence of street pop art and graffiti artwork. It reflects the raw, unfiltered nature of the street art scene while addressing complex societal issues. The figure is meticulously displayed with cotton, a bag, and a tube, encapsulating the presentation of prescription medication and subtly pointing to the clinical nature of drug distribution. The Artistic Approach to a Modern-Day Plight Luke Chueh's approach to art is often characterized by the use of stark, compelling images that evoke a sense of empathy and contemplation. With 'The Prisoner - Percocet,' Chueh confronts the viewer with the reality of pharmaceutical captivity—a condition where medication meant for healing becomes a source of prolonged suffering. The vinyl figure, with its downcast eyes and clasped hands, becomes a symbol of the countless individuals who find themselves battling the dual demons of PTSD and addiction. The art toy is more than a collectible; it is a visual discourse on the pervasive issue of substance abuse linked to prescription drugs. Chueh's work is a bridge between art and advocacy, offering insight into the psychological and emotional turmoil that accompanies dependency. This piece, in particular, embodies the critical narrative that street pop art and graffiti artwork often undertake, highlighting urgent, real-world problems through artistic expression. 'The Prisoner - Percocet' in the Context of Collectible Art Collectors of 'The Prisoner - Percocet' hold a piece of art that is poignant, evocative, and starkly relevant. Including a metal card of authenticity with each figure ensures the artwork's legitimacy and special status within the limited series. Luke Chueh's signature style—simple yet profound—is on full display, making the piece a sought-after artifact within contemporary street pop art. Owning this piece is to acknowledge and appreciate the depth and potential for street art to transcend traditional canvases and become a medium for social commentary. The collectible stands as a testament to the power of art to spark conversation and to the artist's role as a commentator on the human condition. It is an invitation to reflect on the complex relationship society has with medication and the often-hidden struggles that accompany its use. In the broader context of street pop art, 'The Prisoner - Percocet' art toy by Luke Chueh stands out for its ability to communicate a profound message succinctly and symbolically. It is a powerful intersection of artistry and advocacy, encapsulating the struggle that defines the lives of many individuals in a single, silent figurine. For the discerning collector, it is not just a vinyl figure but a conversation starter, an emblem of awareness, and a striking piece of graffiti that holds significant cultural and artistic weight.

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Damaged Bear 72 Original Color Marker Drawing by Jermaine Rogers on Wove Fine Art Paper Modern Street Pop Artwork. 2007 Signed Original Marker Ink Drawing Size 6.5x10. "Something is very wrong with me: I am falling apart...'" Damaged Bear 72 by Jermaine Rogers – Psychological Symbolism in Street Pop Art & Graffiti Artwork Damaged Bear 72 is a 2007 original marker ink drawing by American artist Jermaine Rogers, executed on wove fine art paper and measuring 6.5 x 10 inches. Signed by the artist, the piece is an emotionally raw and visually haunting entry in Rogers’s ongoing exploration of vulnerability, identity, and collapse. The drawing features a wide-eyed bear figure rendered in loose, expressive linework with patches of red that appear as wounds or signs of decay. Numbered 72 on its forehead and accompanied by hand-lettered text reading Something is very wrong with me: I am falling apart, the artwork merges character design with psychological confession. This bear is not a mascot or a toy—it is a vessel for emotional trauma, painted with urgency, humor, and existential dread. The piece exists as a stark and poignant work within the world of Street Pop Art & Graffiti Artwork, where imagery speaks louder than exposition. Visual Language of Inner Collapse The bear figure is a recurring character in Jermaine Rogers’s visual universe, often used to explore themes of innocence broken and identity under pressure. In Damaged Bear 72, the character’s sagging posture and panicked eyes suggest disorientation and surrender. Red ink blots mark its body like open wounds, and its blank, swirling irises indicate an emotional unraveling. The text above the figure reads like a journal entry or whispered confession, turning the drawing into a narrative fragment that blends visual and literary anxiety. Rogers uses minimal color—mostly black, pink, red, and cyan—but every mark contributes to the sense of urgency and internal fragmentation. The simplicity of materials contrasts the complexity of message, a method that aligns with the unfiltered nature of Street Pop Art & Graffiti Artwork. Marker Drawing as Emotional Broadcast Executed entirely in marker on fine art wove paper, the drawing reflects immediacy and tactile presence. The lines are loose, intentional, and flawed in a way that enhances their sincerity. Rogers’s use of bleeding ink and uneven pressure brings a sense of performance to the act of drawing, capturing not just form but emotional atmosphere. The paper holds every smudge and hesitation, turning what could be a sketch into a finished emotional document. The bear’s open expression, numbered forehead, and decaying appearance resonate as symbols of individuality lost in systemic tension. In the context of graffiti and pop character traditions, Rogers’s bear stands apart by leaning into fragility instead of bravado. Jermaine Rogers and the Anatomy of Emotional Resistance Damaged Bear 72 represents Jermaine Rogers at his most exposed, offering a piece that is both a visual statement and a confessional artifact. His work operates where emotion meets iconography, turning cartoonish figures into messengers of truth and despair. In the world of Street Pop Art & Graffiti Artwork, this piece is not about street dominance or design flash—it is about the quiet, painful moments that define human experience. Rogers’s ability to inject philosophical and emotional gravity into character-driven imagery places him among the most nuanced voices in the genre. This bear does not roar—it pleads, stares, and disintegrates in front of the viewer, offering no solutions, only honesty. That honesty is what transforms Damaged Bear 72 from a sketch into a relic of modern anxiety, drawn in lines that refuse to lie.

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Supreme Gucci Smashup Pill- Green Fine Art Limited Edition Archival Pigment Print Transfer on Cold Pressed Steep Natural Skateboard Deck by Street Artwork Graffiti Artist Denial- Daniel Bombardier. 2022 Numbered Limited Edition of 75 Skateboard Artwork Size 8.25x32 Archival Pigment Print Transfer on Cold Pressed Steep Natural Skate Deck Size: 8.25 x 31.875 Inches Release: June 28, 2022 From the Gucci logo, Louis Vuitton & Supreme to Channel perfumes and credit cards, he is utilizing such cultural products with the intention to make a statement against the system, which gave birth to them. As a result, he re-contextualizes them and transforms them from commercial products to his cultural legacy.

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Trip Benzos Blotter Paper Archival Print by Ben Frost Limited Edition Fine Art Archival Pigment Print Art on Perforated Blotter Paper. 2025 Signed & Numbered Limited Edition of TBD Archival Pigment Print on Perforated Blotter Paper Size: 7.5 x 7.5 Inches Release: April 19, 2025 Limited blotter editions are hand-perforated by Zane Kesey. Trip Benzos by Ben Frost: Video Game Iconography Meets Street Pop Art & Graffiti Artwork Trip Benzos, the 2025 limited edition blotter paper print by Australian artist Ben Frost, captures the jarring collision of nostalgic culture and contemporary pharmaceutical critique through the lens of Street Pop Art & Graffiti Artwork. Presented as a 7.5 x 7.5 inch archival pigment print on hand-perforated blotter paper by Zane Kesey, the piece is a psychedelic reimagination of a familiar video game character altered into an anxious, grinning avatar of consumer intoxication. The warped exuberance in the expression and the bold palette reflect Frost’s trademark interrogation of media, medicine, and mind states. Pharma Satire and Pop Subversion Frost is globally recognized for repurposing icons of commercial entertainment into biting social commentary. In Trip Benzos, he adapts a beloved gaming mascot and outfits him in his raccoon-suited glory, only this time wired on hyperreality. With swirling rainbow eyes and exaggerated limbs, the figure becomes a metaphor for the synthetic highs and cartoon-fueled escapism of modern life. The word BENZOS, boldly emblazoned above, anchors the viewer in the pharmacological theme. As with Frost’s broader body of work, this piece questions the ethics of consumer culture and the thin line between fun and sedation. Visual Culture on Blotter Paper The use of perforated blotter paper is integral to the piece’s conceptual gravity. This medium, traditionally associated with LSD distribution, is reclaimed here as a legitimate fine art format. Frost’s execution is precise, colorful, and layered with irony. The print’s hallucinogenic vibrancy and the flattened graphic styling make the imagery pulse with comic intensity. Clouds and green fields provide a friendly background that contrasts starkly with the print’s title, challenging viewers to reconcile innocence with artificial euphoria. The medium becomes more than a surface—it becomes a statement on altered perception, branding, and identity. Ben Frost and the Contemporary Urban Narrative Ben Frost, based in Sydney, has cultivated an international following through works that blend corporate iconography with pop satire and graffiti aesthetics. His work often plays in public space, galleries, and now on unique substrates like blotter paper, creating dialogues between street legality, fine art, and social critique. Trip Benzos stands as an extension of Frost’s focus on pharmaceutical dependency and the cartoonification of mental health. It is a snapshot of a culture high on itself, addicted to entertainment, and medicated into smiles. This limited edition speaks with the voice of the underground while using the tools of mass marketing, a formula that defines the power and provocation of Street Pop Art & Graffiti Artwork.

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Cradle AP Silkscreen Print by Add Fuel Hand-Pulled 7-Color on 320gsm Astropack Fine Art Paper Limited Edition Artwork. AP Artist Proof 2023 Signed & Marked AP Limited Edition Artwork Size 19.69x19.69 Silkscreen Print of Stylized Tile Like Medical Caduceus Symbols, Hearts & Steam Punk Machine Like Elements.  "As part of the creation, install and public reveal of CRADLE, I created this limited edition screen print based on the visual aesthetic of the tile installation.
This edition is (was?) not available for sale." -Add Fuel. The Intersection of Traditional Imagery and Modern Techniques in Add Fuel's Cradle AP Silkscreen Print Add Fuel's "Cradle AP" is an exemplary piece of Street Pop Art and graffiti Artwork, a silkscreen print that intricately weaves historical symbolism with contemporary design. This hand-pulled, 7-color print on 320gsm Astropack fine art paper stands out in its limited edition form, with each piece marked as an artist proof (AP) and signed by the artist in 2023. With artwork dimensions of 19.69x19.69 inches, "Cradle AP" is a testament to the meticulous craft of silkscreen printing and the innovative spirit of modern street-inspired artwork. The print's visual lexicon is a tapestry of stylized tile-like patterns, medical caduceus symbols, hearts, and steampunk machine-like elements. This blend of iconography is a hallmark of Street Pop Art and graffiti Artwork, where artists often employ familiar motifs unexpectedly to challenge the viewer's perceptions and invite more profound reflection on the intersection of past and present, tradition and innovation. Add Fuel's Artistic Language: A Blend of Heritage and Rebellion "Cradle AP" speaks a complex visual language that is both a homage to and a reinterpretation of historical art forms. The use of tile-like patterns references the ancient practice of ceramic tiling, a craft steeped in cultural heritage and often seen in historical buildings. Yet, Add Fuel infuses the work with contemporary relevance and pop culture connectivity by incorporating modern symbols such as the caduceus – associated with medicine and healing – and hearts. The inclusion of steampunk elements furthers this blend of times and traditions, introducing a subculture that embodies a fusion of Victorian-era industrial steam-powered machinery with futuristic concepts. This anachronistic style is particularly resonant in Street Pop Art and graffiti Artwork, where artists frequently mix eras and ideas to create something entirely new and thought-provoking. Materiality and Method: The Significance of Silkscreen Printing in Street Pop Art The silkscreen printing method used in "Cradle AP" is significant within the context of Street Pop Art and graffiti Artwork. Silkscreen, or serigraphy, is a printing technique embraced by various art movements throughout the 20th century, most notably pop art. It allows for the vibrant and precise application of color, evident in the rich textures and layers in this print. By choosing Astropack fine art paper, Add Fuel ensures that the print has a high-quality finish and longevity, mirroring street art's lasting impact on urban landscapes. This choice of medium reflects a reverence for the durability of street art. At the same time, the limited edition nature of the work introduces an element of exclusivity akin to the unique location-specific nature of graffiti. Collectibility and Cultural Resonance of Cradle AP The limited edition "Cradle AP" holds a special place in collectible Street Pop Art and graffiti Artwork. As an artist's proof, it serves as a testament to the creative process, offering insight into the artist's work before the final edition is run. Street art collectors are often drawn to the authenticity and rawness of artist proofs, finding value in the visible iterations and refinements that lead to the final piece. Add Fuel's signature on each print, which serves as a direct connection between the artist and the collector, a significant element in street art where the artist's identity and personal touch carry substantial weight. This aspect of "Cradle AP" is a nod to the origins of graffiti, where the artist's tag is both a signature and a claim to space. The Evolution of Street Art: Add Fuel's Contribution Add Fuel's "Cradle AP" represents a point in the evolution of Street Pop Art and graffiti Artwork where artists explore new methods and mediums while staying true to the ethos of street art. With its intricate design and layered meanings, this piece exemplifies the dynamic nature of street-inspired art, pushing beyond the confines of urban spaces and into the realm of fine art collections. The work is a celebration of the power of street art to transform spaces and ideas, merge the historical with the contemporary, and create dialogues that cross cultural and temporal boundaries. "Cradle AP" is not just a print but a narrative woven in color and form that continues the ever-evolving story of Street Pop Art and graffiti Artwork.

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In Case of Emergency Limited Edition Vinyl Art Toy Collectible Artwork by Modern Pop Culture Artists at Rip N Dip. 2022 Limited Edition 11.5 x 3 x 11 In In Case Of Emergency Figure Clear Plastic Door With Nerm Filled Syringe Hammer Hands-On Side

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Virus Artwork Giclee Limited Edition Surreal Print on 100% Cotton Rag Fine Art Paper by Pop Culture Graffiti Artist Naoto Hattori. VIRUS 20 x 20 inches (50.8 x 50.8 cm) High-Quality Giclee Print on 100% Cotton Rag Fine Art Paper Signed and Numbered Edition of 100

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Dissection of Grogu- 24x20 Archival Pigment Fine Art Limited Edition Print on Velvet Cotton Fine Art Paper by Artist Nychos, Street Pop Art Graffiti Legend. 2021 Signed & Numbered Fine art print by NYCHOS Size: 24 x 19,7 inch / 61 x 50 cm Limited Edition of 111 Velvet Fine Art cotton fiber paper Hand-signed & numbered

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Cialis Le Pew Blotter Paper Archival Print by Ben Frost Limited Edition Fine Art Archival Pigment Print Art on Perforated Blotter Paper. 2025 Signed & Numbered Limited Edition of TBD Archival Pigment Print on Perforated Blotter Paper Size: 7.5 x 7.5 Inches Release: April 19, 2025 Limited blotter editions are hand-perforated by Zane Kesey. Pharmaceutical Aesthetics and Cartoon Satire Cialis Le Pew by Ben Frost brings together cartoon absurdity and adult pharmaceutical branding in a limited edition archival blotter paper print released in 2025. Known for his provocative Street Pop Art & Graffiti Artwork, Frost takes viewers on a subversive ride by merging the suggestive character of Pepé Le Pew with the visual identity of Cialis, a well-known medication for erectile dysfunction. Printed on 7.5 x 7.5 inch perforated blotter paper and hand-perforated by Zane Kesey, this piece sits at the intersection of consumer critique and visual comedy. With bold linework and an unmistakable pharmaceutical color scheme, Frost uses satire to expose the contradictions of health, desire, and fantasy in commercial culture. Reinterpreting Brand Messaging Through Street Pop Ben Frost’s work frequently co-opts the visual language of consumer goods, particularly those related to pharmaceuticals and fast food. In this print, the formal structure of a Cialis package is preserved: dosage information, branding, and corporate insignia are all present. But the addition of Pepé Le Pew lounging provocatively transforms the message entirely. The piece is not about medical treatment—it becomes a conversation on romantic projection, toxic masculinity, and mass-market seduction. Frost intentionally plays with taboos by inserting a controversial cartoon figure into the branding of a real-world medication, using humor as a mechanism for cultural interrogation. Blotter Format as Conceptual Canvas The decision to present this print on perforated blotter paper deepens the commentary. Traditionally associated with psychedelic culture, blotter art has been a platform for anti-establishment graphics since the 1960s. In this format, Frost’s image carries connotations of altered states, drug dependency, and societal disillusionment. The material becomes a message in itself, encouraging viewers to consider how they consume information, media, and identity. The perforations serve not just as a nod to underground drug culture but as a device that dismantles the sterile clinical distance of pharmaceutical packaging. Ben Frost and the Language of Visual Irony Ben Frost, an Australian contemporary artist, has made a career out of weaponizing logos, mascots, and visual trademarks. Through satirical juxtaposition, he addresses addiction, overconsumption, and the contradictions of modern branding. With Cialis Le Pew, he continues this trajectory by turning a prescription drug box into a visual metaphor for desire and farce. The artwork challenges the passive viewer, inviting questions about how intimacy and commodification intersect. It is both a punchline and a statement—a collision of cartoon innocence and adult marketing that leaves a lasting visual impact.

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Yogi on Xanax 9-Color Hand-Pulled Limited Edition Silkscreen Print on Mohawk Superfine UltraWhite Paper by Ben Frost Rare Street Art Famous Pop Artwork Artist. 2022 Signed & Numbered Ben Frost Yogi on Xanax, 9-color Hand-Pulled Screen Print on Mohawk Superfine UltraWhite, 160 lb Cover 24 x24 in., 61 x 61 cm Edition of 50, signed & numbered by the artist Printed by POP!NK Editions Yogi on Xanax by Ben Frost – Consumer Critique in Street Pop Art & Graffiti Artwork Yogi on Xanax is a 2022 limited edition 9-color hand-pulled screen print by contemporary Australian artist Ben Frost, printed on 160 lb Mohawk Superfine UltraWhite cover stock in a 24 x 24 inch format. Signed and numbered in an edition of 50, this bold silkscreen work was produced by POP!NK Editions, renowned for their meticulous craftsmanship in contemporary art print production. The piece combines pharmaceutical packaging design with nostalgic cartoon imagery to produce a visually explosive and conceptually loaded commentary on modern consumer culture. Frost inserts the wide-eyed face of Yogi Bear into the unmistakable layout of a Xanax prescription label, transforming an innocent animated figure into a symbol of medication culture, psychological sedation, and branded addiction. Pharma Design Meets Cartoon Chaos Ben Frost is internationally known for his provocative use of pop culture iconography, and Yogi on Xanax exemplifies his strategy of visual collision. The imagery reappropriates the familiar Xanax box, typically associated with clinical calm, and injects it with the erratic energy of Yogi Bear’s wide grin and hypnotic spiral eye. The polished pharmaceutical layout clashes with the expressive cartoon illustration, creating a moment of visual and conceptual tension. Frost’s technique exposes the strange intersection between happiness, dependence, and entertainment. By overlaying humor onto something serious, he invites viewers to question how commercial products—from children's cartoons to anxiety medications—are embedded into cultural behavior and identity. This blend of absurdity and critique is central to Street Pop Art & Graffiti Artwork, where language and imagery from mass culture are subverted for public commentary. Material Precision and Production Integrity The print’s execution on Mohawk Superfine UltraWhite paper ensures a pristine, high-fidelity surface that supports the layered ink of the 9-color silkscreen process. The heavyweight 160 lb cover stock provides durability and a gallery-quality finish, elevating the piece from poster to collectible artwork. Each color is individually hand-pulled, resulting in rich, solid applications that enhance the saturation and intensity of Frost’s bold graphics. The print’s 24 x 24 inch dimensions offer a perfect square composition, aligning the clinical symmetry of packaging design with the oversized personality of Yogi Bear’s warped cartoon form. Frost’s decision to preserve the integrity of the Xanax design while inserting his own subversive visuals makes this work a standout example of pop art precision with street-level satire. Ben Frost and the Visual Language of Commercial Rebellion Ben Frost continues to be a defining voice in Street Pop Art & Graffiti Artwork, using the language of branding, packaging, and iconography to reflect the contradictions of contemporary life. In Yogi on Xanax, he exploits the comfort of nostalgia to highlight uncomfortable truths. The cartoon becomes the messenger for a culture that medicates joy and aestheticizes control. Frost’s unique visual style—bold lines, saturated colors, and razor-sharp layout—presents a clear but distorted mirror to viewers, forcing them to reconcile the ridiculous with the real. His work does not ask for passive admiration; it demands a response. Yogi on Xanax stands as a satirical totem of consumer anxiety, wrapped in packaging that feels as familiar as it is jarring. This print does not just exist in the world of contemporary pop—it defines what it looks like when pop turns critical.

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In Patient Deck Fine Art Limited Edition Archival Pigment Print Transfer on Cold Pressed Steep Natural Skateboard Deck by Street Artwork Graffiti Artist Denial. 2021 Limited Edition of 75 Archival Pigment Print Transfer on Cold Pressed Steep Natural Skate Deck Size: 8.25 x 31.875 Inches Release: July 14, 2021 Denial is a Canadian artist who experiments with aerosol and stencil art, while his main fields of interest are consumerism, politics and the human condition in today’s society. Since the culture of graffiti was gaining more and more popularity in the US and Europe, the taggers had to be increasingly original in order to stand out. The signatures became bigger, more stylized and more colorful.

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Covid No 19- Mauve Limited Edition Archival Pigment Print on 290gsm MOAB Fine Art Paper by Graffiti Pop Art and Street Artist Denial. 2021 Signed & Numbered Limited Edition of 19 Mauve Covid19 Chanel Hand Sanitizer Virus Variant. Numbered, Signed, Stamped on Reverse Archival Pigment Print on MOAB Fine Art Paper 290 GSM Size 18" x 24" Denial’s COVID No. 19: Luxury Branding in the Age of Global Crisis Denial’s COVID No. 19 is a striking archival pigment print released in 2021 as a limited edition of 19, each hand-signed, numbered, and stamped on 290gsm MOAB fine art paper. The work appropriates the form of a Chanel No. 5 perfume bottle, replacing its iconic label with a fictional product name: COVID No. 19 Hand Sanitizer. Rendered with hyper-clean digital precision, the image reconfigures the aesthetics of high fashion to comment on the absurdities of pandemic-era consumerism. The hand sanitizer bottle is presented with all the visual authority of a luxury good, transforming an object of necessity into a parody of status and desire. At the core of this piece is a brutal cultural observation: during a global health emergency, everyday tools of survival—like sanitizer and masks—were elevated to symbols of identity, fashion, and economic access. Denial’s rebranding of Chanel’s perfume into a virus-era commodity confronts this shift head-on. The artwork doesn’t merely lampoon luxury—it reveals how systems of marketing can absorb trauma, repackage it, and sell it back to the public. The Chanel-style labeling is clinical yet elegant, a nod to how visual minimalism often masks corporate manipulation. Commercial Aesthetics as Subversive Weaponry Denial’s artistic strategy centers on the theft and recontextualization of commercial language. With COVID No. 19, the use of vector-sharp line work, realistic light reflections, and exacting product design mimics advertising to the point of deception. This imitation is intentional. The viewer is meant to initially read the image as authentic—something from a fashion magazine or cosmetics campaign—before the irony of the label snaps into focus. The dissonance between form and content invites a critique of the capitalist tendency to aestheticize suffering. This visual methodology ties directly into the ethos of Street Pop Art & Graffiti Artwork. Denial’s roots in unauthorized public messaging and subcultural image disruption remain present, even as the work exists in a fine art format. The absence of spray drips or rough textures does not diminish the rebellion. Instead, it retools the graphic language of commercial persuasion to undermine itself from within. What looks like a product pitch is, in fact, a visual accusation. The pandemic is not the subject—it is the branding of the pandemic that comes under fire. Street Pop Art as Pandemic Documentation COVID No. 19 operates as both satire and historical record. It captures a cultural moment when survival tools became luxury statements, when scarcity was linked to exclusivity, and when branding extended even to medical supplies. Denial’s artwork speaks to the way modern crises are not only experienced but marketed—how the fear of illness was filtered through the same systems that sell beauty, fashion, and lifestyle. The sanitizer bottle becomes a symbol not of protection, but of consumption. By fusing the iconography of fashion with the reality of a global pandemic, Denial forces the viewer to reconsider the boundaries between design and ethics, branding and survival. The visual simplicity of COVID No. 19 hides a layered indictment of how quickly commercial aesthetics can strip events of meaning. In the tradition of Street Pop Art & Graffiti Artwork, this piece turns familiar symbols against themselves, exposing the fragility of culture’s glossy surfaces when confronted with real human urgency.

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Dissection Of The White Rabbit Limited Edition Archival Pigment Print on 300gsm Museum Natural Fine Art Paper by Nychos Graffiti Street Artist Modern Pop Art. AP Artist Proof 2013Signed & Marked AP Artwork Size 16x16 "I painted this piece in January of this year, right before I went to Hawaii for Pow Wow. It was also featured in my recent solo show in Italy, showcasing some of my recent dissections. The concept is based on the graphical graffiti throw-up I have been doing since around 2005, but I had to do a dissection of this one! The image is now Rabbit Eye Movement's main (REM) logo. REM started as a street art concept based in Vienna, but I always saw the Rabbit Eye Movement as an homage to all the "rabbits" out there being" active in the urban art movement; it doesn't matter what mission they are following. The movement grew, and REM expanded to establish the REM ARTSPACE. This place addresses national and international artists from genres like graffiti, urban illustration, street art, lowbrow, and pop culture imagery. It allows individual and collective creativity to open minds and cultivate passionate inspiration." - Nychos. Nychos' "Dissection of The White Rabbit": A Modern Pop Art Phenomenon In the contemporary urban landscape, few art pieces have captured the imagination as vividly as "Dissection of The White Rabbit" by Nychos, the illustrious graffiti street artist. This limited edition archival pigment print on 300gsm Museum Natural Fine Art Paper stands as a hallmark of modern pop art and a defining piece within the street pop art and graffiti artwork genre. Created as an artist proof (AP) in 2013, this 16x16 artwork weaves complex narratives of biology, mythology, and urban culture into a single, striking, and thought-provoking canvas. Nychos: Anatomical Explorations and Urban Narratives Nychos, renowned for his unique approach to street art, employs a distinctive technique of anatomical dissection in his work. "Dissection of The White Rabbit" is a prime example, presenting a rabbit split down the middle to reveal the intricate workings of its internal organs. This piece was conceived in January of that year, just as Nychos was preparing to attend Pow Wow in Hawaii, and subsequently became a centerpiece in his solo show in Italy. Nychos's work delves into the layers that compose living beings, reflecting a deep fascination with what lies beneath the surface. By marrying the graphic energy of graffiti throw-ups with the precise detail of dissections, Nychos has forged a new path in street pop art. The artwork also functions as the emblem for the Rabbit Eye Movement (REM), a concept originating from the streets of Vienna. Nychos envisions REM as a tribute to the 'rabbits' of the urban art movement, symbolizing the active participants in this burgeoning cultural scene, regardless of their mission. REM has since evolved to establish the REM ARTSPACE. This creative hub celebrates a variety of genres, from graffiti and urban illustration to street art, lowbrow, and pop culture imagery. This space is dedicated to fostering individual and collective creativity and serves as a bastion for the free exchange of ideas, ensuring the progression and inspiration of artists worldwide. The Impact and Legacy of Nychos' Work The influence of "Dissection of The White Rabbit" extends beyond its visual impact. It embodies Nychos' profound effect on the street art scene, illustrating the transformative power of visual arts in urban spaces. The work is a representation of the artist's technical prowess and a symbol of his commitment to challenging the traditional boundaries of street pop art and graffiti artwork. As the primary logo for the Rabbit Eye Movement, it has become synonymous with a global network of artists dedicated to advancing the cause of street art. Through his work and the establishment of REM ARTSPACE, Nychos has played a pivotal role in shaping the dialogue around street art and its place in the broader spectrum of contemporary art. In essence, "Dissection of The White Rabbit" is more than just a piece of art; it is a cornerstone of Nychos' artistic and cultural contribution. This piece encapsulates the dynamism and versatility of street pop art and graffiti artwork, demonstrating how such works can simultaneously educate, inspire, and provoke thought. As Nychos' fame continues to rise and his works continue to captivate audiences around the globe, the legacy of his white rabbit, dissected and displayed, stands as an enduring symbol of the power and potential of street art.

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Love Life And Death Archival Pigment Fine Art Limited Edition Print on Velvet Cotton Fine Art Paper by Artist Nychos, Street Pop Art Graffiti Legend. 2021 Signed & Numbered Size: 32,5 x 60,9 cm // 12.8 x 24 inch Fine art print by NYCHOS Limited Edition of 111 Velvet Fine Art cotton fiber paper Hand-signed & numbered

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Out Patient Deck Fine Art Limited Edition Archival Pigment Print Transfer on Cold Pressed Steep Natural Skateboard Deck by Street Artwork Graffiti Artist Denial. 2021 Limited Edition of 75 Archival Pigment Print Transfer on Cold Pressed Steep Natural Skate Deck Size: 8.25 x 31.875 Inches Release: July 14, 2021 Essentially, Denial is satirizing the reality, which both he and us are experiencing, through some of the Western culture’s most emblematic symbols. Denial is utilizing cultural products with the intention to make a statement against the system, which gave birth to them. As a result, he re-contextualizes them and transforms them from commercial products to his cultural legacy.

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Dissection of Bambi- Anatomy Sheet No 23 Hand-Pulled 1-Color Limited Edition Silkscreen Print on 300gsm Munken Pure Paper by Medical Pop Artist Nychos. 2018 Signed & Numbered Limited Edition of 200 11x17 Illustrated by NYCHOS 1-color Screen Print on 300 g/m² Munken Pure Paper Size: 11 x 17 Inches / 27,94 x 43,18 cm Limited Edition of 200 Year: 2018 Imprint & stamp of authenticity Numbered and signed by the artist The REM Anatomy Sheets focus on the anatomy of pop culture cartoon characters. In this new collection of black and white limited edition screenprints, Nychos lets the viewer engage with details of the anatomy of toons.

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TITLE Archival Pigment Fine Art Limited Edition Print on 290gsm Moab Entrada Paper by Artist Jen Collins, Street Pop Art Graffiti Legend. INFO

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Electric Six- Boston 2008 Music Limited Edition Gig Poster 3-Color Metallic Ink Hand-Pulled Silkscreen Print Artwork on Fine Art Paper by Todd Slater. AP Artist Proof. 12 x 32 – 3 color silkscreen – S/N edition of 200. Electric 6 Rock On Concert Cruiz, Boston Massachusetts, August 15th 2008

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Dissection of Donald Duck- Anatomy Sheet No 26 Hand-Pulled 1-Color Limited Edition Silkscreen Print on 300gsm Munken Pure Paper by Medical Pop Artist Nychos. 2018 Signed & Numbered Limited Edition of 200 11x17 Illustrated by NYCHOS 1-color Screen Print on 300 g/m² Munken Pure Paper Size: 11 x 17 Inches / 27,94 x 43,18 cm Limited Edition of 200 Year: 2018 Imprint & stamp of authenticity Numbered and signed by the artist The REM Anatomy Sheets focus on the anatomy of pop culture cartoon characters. In this new collection of black and white limited edition screenprints, Nychos lets the viewer engage with details of the anatomy of toons.

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Covid No 19- Verte Limited Edition Archival Pigment Print on 290gsm MOAB Fine Art Paper by Graffiti Pop Art and Street Artist Denial. 2021 Signed & Numbered Limited Edition of 19 Verte Covid19 Chanel Hand Sanitizer Virus Variant. Numbered, Signed, Stamped on Reverse Archival Pigment Print on MOAB Fine Art Paper 290 GSM Size 18" x 24" Denial’s COVID No. 19: Luxury Branding in the Age of Global Crisis Denial’s COVID No. 19 is a striking archival pigment print released in 2021 as a limited edition of 19, each hand-signed, numbered, and stamped on 290gsm MOAB fine art paper. The work appropriates the form of a Chanel No. 5 perfume bottle, replacing its iconic label with a fictional product name: COVID No. 19 Hand Sanitizer. Rendered with hyper-clean digital precision, the image reconfigures the aesthetics of high fashion to comment on the absurdities of pandemic-era consumerism. The hand sanitizer bottle is presented with all the visual authority of a luxury good, transforming an object of necessity into a parody of status and desire. At the core of this piece is a brutal cultural observation: during a global health emergency, everyday tools of survival—like sanitizer and masks—were elevated to symbols of identity, fashion, and economic access. Denial’s rebranding of Chanel’s perfume into a virus-era commodity confronts this shift head-on. The artwork doesn’t merely lampoon luxury—it reveals how systems of marketing can absorb trauma, repackage it, and sell it back to the public. The Chanel-style labeling is clinical yet elegant, a nod to how visual minimalism often masks corporate manipulation. Commercial Aesthetics as Subversive Weaponry Denial’s artistic strategy centers on the theft and recontextualization of commercial language. With COVID No. 19, the use of vector-sharp line work, realistic light reflections, and exacting product design mimics advertising to the point of deception. This imitation is intentional. The viewer is meant to initially read the image as authentic—something from a fashion magazine or cosmetics campaign—before the irony of the label snaps into focus. The dissonance between form and content invites a critique of the capitalist tendency to aestheticize suffering. This visual methodology ties directly into the ethos of Street Pop Art & Graffiti Artwork. Denial’s roots in unauthorized public messaging and subcultural image disruption remain present, even as the work exists in a fine art format. The absence of spray drips or rough textures does not diminish the rebellion. Instead, it retools the graphic language of commercial persuasion to undermine itself from within. What looks like a product pitch is, in fact, a visual accusation. The pandemic is not the subject—it is the branding of the pandemic that comes under fire. Street Pop Art as Pandemic Documentation COVID No. 19 operates as both satire and historical record. It captures a cultural moment when survival tools became luxury statements, when scarcity was linked to exclusivity, and when branding extended even to medical supplies. Denial’s artwork speaks to the way modern crises are not only experienced but marketed—how the fear of illness was filtered through the same systems that sell beauty, fashion, and lifestyle. The sanitizer bottle becomes a symbol not of protection, but of consumption. By fusing the iconography of fashion with the reality of a global pandemic, Denial forces the viewer to reconsider the boundaries between design and ethics, branding and survival. The visual simplicity of COVID No. 19 hides a layered indictment of how quickly commercial aesthetics can strip events of meaning. In the tradition of Street Pop Art & Graffiti Artwork, this piece turns familiar symbols against themselves, exposing the fragility of culture’s glossy surfaces when confronted with real human urgency.

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LIE 13 Margaret Sanger Limited Edition 2-Color Hand-Pulled Silkscreen Print on Fine Art Paper by Aelhra Graffiti Street Artist Modern Pop Art. 2014 Signed & Numbered Limited Edition of 30 Artwork Size 18x24 Third International Eugenics, New York City, August 21-23 1932

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Dosages 5-Color Hand-Pulled Limited Edition Silkscreen Print on 100# Cougar Cover White Paper by Jim Houser Rare Street Art Famous Pop Artwork Artist. Signed & Numbered 2013- 5 color screenprint on 100# Cougar Cover White 18 x 18 in Ed. 100 Signed and numbered by Artist

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McDonald Limited Edition Archival Pigment Print Transfer on Cold Pressed Steep Natural Skate Deck art by street pop culture artist Denial. 2019 Limited Edition of 50 In 2000 he adopted the moniker ‘DENIAL’ as a means of poking fun at advertising, politics, and media messages that contemporary society is often ‘in denial’ about. Since then he has maintained an ongoing global street-campaign of over 500, 000 stickers, placards, and murals, using the alpha-numeric characters ‘D3N!@L’. Denial is a Canadian artist who experiments with aerosol and stencil art, while his main fields of interest are consumerism, politics and the human condition in today’s society. Since the culture of graffiti was gaining more and more popularity in the US and Europe, the taggers had to be increasingly original in order to stand out. The signatures became bigger, more stylized and more colorful.

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Covid No 19- Rose Limited Edition Archival Pigment Print on 290gsm MOAB Fine Art Paper by Graffiti Pop Art and Street Artist Denial. 2021 Signed & Numbered Limited Edition of 19 Rose Covid19 Chanel Hand Sanitizer Virus Variant. Numbered, Signed, Stamped on Reverse Archival Pigment Print on MOAB Fine Art Paper 290 GSM Size 18" x 24" Denial’s COVID No. 19: Luxury Branding in the Age of Global Crisis Denial’s COVID No. 19 is a striking archival pigment print released in 2021 as a limited edition of 19, each hand-signed, numbered, and stamped on 290gsm MOAB fine art paper. The work appropriates the form of a Chanel No. 5 perfume bottle, replacing its iconic label with a fictional product name: COVID No. 19 Hand Sanitizer. Rendered with hyper-clean digital precision, the image reconfigures the aesthetics of high fashion to comment on the absurdities of pandemic-era consumerism. The hand sanitizer bottle is presented with all the visual authority of a luxury good, transforming an object of necessity into a parody of status and desire. At the core of this piece is a brutal cultural observation: during a global health emergency, everyday tools of survival—like sanitizer and masks—were elevated to symbols of identity, fashion, and economic access. Denial’s rebranding of Chanel’s perfume into a virus-era commodity confronts this shift head-on. The artwork doesn’t merely lampoon luxury—it reveals how systems of marketing can absorb trauma, repackage it, and sell it back to the public. The Chanel-style labeling is clinical yet elegant, a nod to how visual minimalism often masks corporate manipulation. Commercial Aesthetics as Subversive Weaponry Denial’s artistic strategy centers on the theft and recontextualization of commercial language. With COVID No. 19, the use of vector-sharp line work, realistic light reflections, and exacting product design mimics advertising to the point of deception. This imitation is intentional. The viewer is meant to initially read the image as authentic—something from a fashion magazine or cosmetics campaign—before the irony of the label snaps into focus. The dissonance between form and content invites a critique of the capitalist tendency to aestheticize suffering. This visual methodology ties directly into the ethos of Street Pop Art & Graffiti Artwork. Denial’s roots in unauthorized public messaging and subcultural image disruption remain present, even as the work exists in a fine art format. The absence of spray drips or rough textures does not diminish the rebellion. Instead, it retools the graphic language of commercial persuasion to undermine itself from within. What looks like a product pitch is, in fact, a visual accusation. The pandemic is not the subject—it is the branding of the pandemic that comes under fire. Street Pop Art as Pandemic Documentation COVID No. 19 operates as both satire and historical record. It captures a cultural moment when survival tools became luxury statements, when scarcity was linked to exclusivity, and when branding extended even to medical supplies. Denial’s artwork speaks to the way modern crises are not only experienced but marketed—how the fear of illness was filtered through the same systems that sell beauty, fashion, and lifestyle. The sanitizer bottle becomes a symbol not of protection, but of consumption. By fusing the iconography of fashion with the reality of a global pandemic, Denial forces the viewer to reconsider the boundaries between design and ethics, branding and survival. The visual simplicity of COVID No. 19 hides a layered indictment of how quickly commercial aesthetics can strip events of meaning. In the tradition of Street Pop Art & Graffiti Artwork, this piece turns familiar symbols against themselves, exposing the fragility of culture’s glossy surfaces when confronted with real human urgency.

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Burger King Limited Edition Archival Pigment Print Transfer on Cold Pressed Steep Natural Skate Deck art by street pop culture artist Denial. In 2000 he adopted the moniker ‘DENIAL’ as a means of poking fun at advertising, politics, and media messages that contemporary society is often ‘in denial’ about. Since then he has maintained an ongoing global street-campaign of over 500, 000 stickers, placards, and murals, using the alpha-numeric characters ‘D3N!@L’. Denial has evolved as one the most prominent figures of contemporary pop artists, who nonetheless, continue to stay relevant and is interested in generating thought-provoking commentary. He has a long history of exploring the boundaries of appropriation, which he uses as a means of subverting the value of cultural products, imprinted in the collective memory of the Western civilization. His work, in other words, is inviting the viewer to re-imagine our dystopian society as a way of confronting it, with humor and irony as the biggest tools of the artist.

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Dark Passenger Limited Edition ICON Series 4-Color Hand-Pulled Silkscreen Print on Fine Art Paper by DKNG Graffiti Street Artist Modern Pop Art. Dexter TV Show Reference. "Every film has one. A signature prop, set, or location. Something that, in a single image, can represent the entire movie. The design team of Dan Kuhlken and Nathan Goldman, also known as DKNG, call these images “Icons,” and they are the subject of their first-ever solo show at Gallery 1988 West in Los Angeles. The show, called simply ICON, is comprised of 50 pieces featuring iconic places and things from some of your favorite movies and TV shows of all time. Each piece is small – 12 inches square – and is of one thing that sums up an entire movie. And of course, each is done in DKNG’s distinctive bright, geometric yet detailed style.” - DKNG

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Radioactive R Nerm Æ-09 Nermal Limited Anatomy Vinyl Art Toy Collectible Artwork by street graffiti artist Rip N Dip. 14 inch R NERM Æ-09 VINYL FIGURE Glow In The Dark

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Internal Growth Limited Edition Archival Pigment Fine Art Prints on Archival Rag Paper by Graffiti Street Art and Pop Culture Artist Jenna Morello. Internal Growth Print Measures 15x20 on archival rag Limited edition of 25 Signed and numbered. Jenna Morello's "Internal Growth": A Vision of Nature's Resilience in Art "Internal Growth" is a visually arresting limited edition fine art print by Jenna Morello, a prominent name in Graffiti Street Art and Pop Culture Artistry. The artwork, measuring 15x20 inches, is printed on archival rag paper and forms a significant part of a limited run of 25 signed and numbered pieces. With its poignant composition of encapsulated natural elements within pill capsules, Morello's piece is an evocative representation of the juxtaposition of human-made constructs and the persistence of natural beauty. Jenna Morello, a US-based artist, is known for her innovative approach to street pop art, often characterized by its vibrant color schemes and thought-provoking subject matter. "Internal Growth" is a testament to her artistic journey and her ability to blend diverse art forms seamlessly, creating works that resonate with audiences and challenge conventional art norms. Artistic Craftsmanship in "Internal Growth" The creation of "Internal Growth" showcases Morello's mastery in using archival pigment printing, a technique renowned for its superior color depth and longevity. By choosing archival rag paper for this print, Morello ensures that each detail of her intricate work is captured with clarity, and the artwork's longevity is guaranteed. The medium also reflects Morello's commitment to quality, with the texture of the paper complementing the organic subjects contained within the print. Each element within the capsules of "Internal Growth" is rendered with meticulous attention to detail, symbolizing the unstoppable force of nature and its inherent beauty. Morello's choice to present nature as something to be preserved is a powerful commentary on the environment and the impact of human consumption. The capsules, often associated with healing, suggest a more profound meaning - the healing power of nature and the necessity of its preservation in our contemporary society. Reflections on Jenna Morello's Contributions Jenna Morello's contributions to contemporary art are encapsulated in "Internal Growth," which blurs the lines between street art's edgy roots and the delicate beauty of natural forms. By placing natural elements within the context of modern healthcare symbols, Morello invokes a dialogue on the relationship between humanity and nature, growth and containment, and destruction and healing. Her work in the limited edition of "Internal Growth" is a significant marker of her role as an artist who is both a storyteller and a visionary. Through her art, Morello implores viewers to recognize nature's vital role in our lives and the paradox of our attempts to control and categorize it. This print is a striking piece of Street Pop Art and a catalyst for reflection on how we interact with the world around us. With "Internal Growth," Jenna Morello pushes the envelope, ensuring her voice and vision are felt within the Street Pop Art movement. Her artistic exploration is a continuous process of discovery, and this print serves as a snapshot of her journey, offering a window into the soul of an artist dedicated to unveiling the hidden depths of both the urban landscape and the natural world.

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Covid No 19- Juane Limited Edition Archival Pigment Print on 290gsm MOAB Fine Art Paper by Graffiti Pop Art and Street Artist Denial. 2021 Signed & Numbered Limited Edition of 19 Juane Covid19 Chanel Hand Sanitizer Virus Variant. Numbered, Signed, Stamped on Reverse Archival Pigment Print on MOAB Fine Art Paper 290 GSM Size 18" x 24" Denial’s COVID No. 19: Luxury Branding in the Age of Global Crisis Denial’s COVID No. 19 is a striking archival pigment print released in 2021 as a limited edition of 19, each hand-signed, numbered, and stamped on 290gsm MOAB fine art paper. The work appropriates the form of a Chanel No. 5 perfume bottle, replacing its iconic label with a fictional product name: COVID No. 19 Hand Sanitizer. Rendered with hyper-clean digital precision, the image reconfigures the aesthetics of high fashion to comment on the absurdities of pandemic-era consumerism. The hand sanitizer bottle is presented with all the visual authority of a luxury good, transforming an object of necessity into a parody of status and desire. At the core of this piece is a brutal cultural observation: during a global health emergency, everyday tools of survival—like sanitizer and masks—were elevated to symbols of identity, fashion, and economic access. Denial’s rebranding of Chanel’s perfume into a virus-era commodity confronts this shift head-on. The artwork doesn’t merely lampoon luxury—it reveals how systems of marketing can absorb trauma, repackage it, and sell it back to the public. The Chanel-style labeling is clinical yet elegant, a nod to how visual minimalism often masks corporate manipulation. Commercial Aesthetics as Subversive Weaponry Denial’s artistic strategy centers on the theft and recontextualization of commercial language. With COVID No. 19, the use of vector-sharp line work, realistic light reflections, and exacting product design mimics advertising to the point of deception. This imitation is intentional. The viewer is meant to initially read the image as authentic—something from a fashion magazine or cosmetics campaign—before the irony of the label snaps into focus. The dissonance between form and content invites a critique of the capitalist tendency to aestheticize suffering. This visual methodology ties directly into the ethos of Street Pop Art & Graffiti Artwork. Denial’s roots in unauthorized public messaging and subcultural image disruption remain present, even as the work exists in a fine art format. The absence of spray drips or rough textures does not diminish the rebellion. Instead, it retools the graphic language of commercial persuasion to undermine itself from within. What looks like a product pitch is, in fact, a visual accusation. The pandemic is not the subject—it is the branding of the pandemic that comes under fire. Street Pop Art as Pandemic Documentation COVID No. 19 operates as both satire and historical record. It captures a cultural moment when survival tools became luxury statements, when scarcity was linked to exclusivity, and when branding extended even to medical supplies. Denial’s artwork speaks to the way modern crises are not only experienced but marketed—how the fear of illness was filtered through the same systems that sell beauty, fashion, and lifestyle. The sanitizer bottle becomes a symbol not of protection, but of consumption. By fusing the iconography of fashion with the reality of a global pandemic, Denial forces the viewer to reconsider the boundaries between design and ethics, branding and survival. The visual simplicity of COVID No. 19 hides a layered indictment of how quickly commercial aesthetics can strip events of meaning. In the tradition of Street Pop Art & Graffiti Artwork, this piece turns familiar symbols against themselves, exposing the fragility of culture’s glossy surfaces when confronted with real human urgency.

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Dissected Companion Grey Silkscreen Print by Kaws- Brian Donnelly Hand-Pulled on Wove Fine Art Paper Limited Edition Screenprint Artwork. 2006 Signed & Numbered Limited Edition of 100 Artwork Size 20x20 Silkscreen Print Floated and framed under acrylic. Framed Dimensions 20.25 X 20.25 Inches KAWS Brian Donnelly Dissected Companion Grey Silkscreen Print 2006 The 2006 Dissected Companion Grey silkscreen print by Brian Donnelly, professionally known as KAWS, stands as one of the most recognizable works in the evolution of Street Pop Art & Graffiti Artwork. Measuring 20 x 20 inches, this limited edition piece was hand-pulled on wove fine art paper in a signed and numbered edition of 100. The artwork depicts KAWS’ iconic Companion figure split symmetrically down the center—one half retaining its smooth, cartoon-like exterior, the other revealing an intricate anatomical cross-section that exposes muscles, organs, and bone structure. This interplay between exterior identity and inner anatomy has become one of KAWS’ most celebrated artistic motifs. Visual Language and Graphic Precision The Dissected Companion Grey uses a limited grayscale palette, emphasizing the sharp contrast between the simplified, pop-inspired figure on the left and the hyper-detailed anatomical rendering on the right. KAWS’ graphic precision in silkscreen printing ensures clean linework and flat, even color application, hallmarks of his approach to high-impact, collectible print editions. The anatomical side adds unexpected depth to the work, offering a literal and metaphorical look beneath the surface, while the monochrome treatment lends a sleek, museum-quality presence to the composition. Rarity and Collectible Status Produced in a strictly limited edition of only 100, this print was signed and numbered by the artist in pencil, ensuring authenticity and collectibility. The example shown is professionally floated and framed under acrylic, bringing the framed dimensions to 20.25 x 20.25 inches, which enhances presentation while preserving the integrity of the fine art paper. As an early 2000s release, it represents a formative stage in KAWS’ career, when his transition from street-based graffiti to global fine art recognition was rapidly gaining momentum. Pieces from this period are highly sought after due to their scarcity and the artist’s rising influence in contemporary art markets. KAWS’ Cultural and Artistic Impact Brian Donnelly, born in 1974 in Jersey City, New Jersey, began as a graffiti artist in the streets of New York before moving into painting, sculpture, and editioned prints. The Companion figure, introduced in the late 1990s, has since become a cornerstone of his practice, embodying themes of vulnerability, consumerism, and the human condition. By merging cartoon aesthetics with anatomical dissection, KAWS invites viewers to reconsider familiar pop culture forms through a lens of introspection and complexity. The Dissected Companion Grey is not only a striking visual work but also a pivotal moment in the development of KAWS’ ability to merge street sensibilities with fine art production, making it an enduring highlight in the history of Street Pop Art & Graffiti Artwork.

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Kuma OG Chase Flocked Amarillo Verde The Prisoner Drug Bear Kickstarter Art Toy by Luke Chueh Limited Edition Vinyl Collectible Artwork by Street Graffiti Artist. 2017 Limited Edition Artwork of 62 with Cotton, Bag, and Tube. Based on Luke Chueh's original painting, The Prisoner ponders captivity in its many forms—physical, mental, or pharmaceutical. Ultra Rare Kickstarter Exclusive Chase Flocked Edition. Kuma OG Chase Flocked Amarillo Verde The Prisoner by Luke Chueh: Ultra Rare Emotional Artifact in Street Pop Art & Graffiti Artwork Kuma OG Chase Flocked Amarillo Verde The Prisoner is an ultra rare vinyl art toy by Luke Chueh, released in 2017 as a Kickstarter exclusive. Limited to only 62 pieces, this special edition is a flocked version of the Amarillo Verde Kuma OG figure, making it one of the most sought-after variants in The Prisoner series. Packaged in a green translucent prescription-style container with printed labeling, cotton interior, and protective bag, the figure mimics both the aesthetic and implication of medical confinement. The Prisoner, originally based on Chueh’s emotionally resonant painting, contemplates psychological, physical, and pharmaceutical imprisonment. Rendered in a mossy textured green flocking, the bear’s soft tactile surface contrasts dramatically with its somber pose—arms wrapped tightly around its knees, seated and emotionally closed off. This contrast emphasizes the disconnect between exterior softness and internal suffering, a hallmark of Street Pop Art & Graffiti Artwork. Flocking as Texture for Trauma and Visual Irony What distinguishes this edition is the flocking—a velvety texture that adds an uncanny softness to an otherwise emotionally heavy piece. This tactile surface transforms the object into something that feels almost comforting to touch, even while it visually portrays pain, dependency, and confinement. The figure’s colorway, a vivid Amarillo Verde green, echoes the medical cannabis dispensary aesthetic, subtly referencing alternative forms of chemical escape. The labeled container marks the strain as Kuma OG, a fictionalized nod to both cannabis culture and the ongoing dialogue around self-medication. By placing the bear in a tube labeled as a product and strain, Chueh uses humor and stark visual metaphors to dissect how trauma and emotional pain are commodified. These layered meanings, delivered through minimalist sculptural forms and smart packaging, place this piece firmly within the canon of Street Pop Art & Graffiti Artwork. Luke Chueh’s Quiet Revolution in Designer Art Toys Luke Chueh, a Los Angeles-based artist known for his distinctive character design and emotional storytelling, has redefined the role of designer toys in contemporary art. His work draws heavily from personal experiences with mental health, cultural identity, and psychological conflict. The bear figure featured in The Prisoner series is a signature motif that Chueh uses to convey raw, unspoken emotion. Through posture and minimal expression, the bear becomes an avatar for the fragile states people often endure in silence. This flocked version adds an additional layer of irony and depth, turning a painful emotional narrative into a soft and seemingly huggable object. Chueh’s fusion of toy design, sculpture, and emotional realism continues to influence the Street Pop Art & Graffiti Artwork movement by proving that vulnerability can be conveyed through the smallest, most deceptively simple forms. Kickstarter Exclusivity and Cultural Significance As one of only 62 pieces produced, the Kuma OG Chase Flocked Amarillo Verde edition holds exceptional cultural and collector value. Its release through Kickstarter ties the work directly to the support of fans and collectors who align with the deeper message of The Prisoner series. The prescription-themed packaging serves as more than a protective shell—it is part of the narrative structure, symbolizing institutional control, pharmaceutical normalization, and the quiet despair of chemically managed pain. This edition does not just exist as a display item; it exists as a statement. It represents the intersection of mental health, medication culture, and consumer aesthetics in modern society. Within the framework of Street Pop Art & Graffiti Artwork, Luke Chueh’s limited editions become small-scale monuments to the emotional complexity of human experience—objects of art that carry as much weight in meaning as they do in cultural presence.

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