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And Then Things Got Better- Hate Limited Edition Archival Pigment Prints on 330gsm Fine Art Paper by Denial Graffiti Street Artist Modern Pop Art. 2021 Signed & Numbered Limited Edition of 25 Artwork Size 24x24 Hate Variant And Then Things Got Better – Hate Edition by Denial in Street Pop Art & Graffiti Artwork And Then Things Got Better – Hate is a stark and emotionally charged archival pigment print created in 2021 by Canadian graffiti and pop artist Denial, born Daniel Bombardier. Released as a limited edition of only 25 signed and numbered prints, this artwork measures 24 x 24 inches and is produced on 330gsm museum-grade fine art paper. Known for his confrontational visuals and bold aesthetic rooted in consumer critique, Denial utilizes the visual language of comic art to explore psychological complexity through accessible pop iconography. In this Hate variant, the entire color palette is stripped down to grayscale, replacing the warmth and vibrancy of other versions with chilling neutrality. The caption panel in steel grey sets the emotional tone, while the central female figure—rendered in only black, white, and soft gray—expresses quiet anguish, captured mid-thought or in the wake of emotional turmoil. The Aesthetic and Emotional Distinction of the Hate Variant This version of Denial’s iconic piece is not just a color shift; it is a deliberate recalibration of tone and message. The grayscale palette evokes detachment, coldness, and numbness, suggesting a psychological state that exists after trauma or emotional collapse. The woman’s face, modeled on mid-century pop comic heroines, feels frozen and devoid of warmth—an intentional contrast that communicates emotional suppression rather than catharsis. The caption And Then Things Got Better, when read through the filter of the Hate edition, becomes deeply ironic. It may hint at repression, anger, or resignation masked by a public-facing statement of recovery. The tearless face, the narrowed gaze, and the absence of saturated color transform the image into a statement about the silence and distance that often follow intense personal or societal strain. Denial’s Commentary Through Minimalism in Street Pop Art & Graffiti Artwork Denial has long used mass media aesthetics to speak about propaganda, emotional manipulation, and the illusions behind commercial and cultural messages. In this Hate variant, he strips the image to its essential structure to expose emotional contradiction. The crisp linework, patterned Ben-Day dot textures, and monochromatic shading reinforce the graphic roots of his style, while the stripped-back execution demands viewers focus on tone and posture rather than color. Denial’s participation in Street Pop Art & Graffiti Artwork includes both wall-based interventions and limited edition fine art prints. Each format reflects his core mission: to disrupt perception and provoke thought using visual devices drawn from advertising and pop culture. This piece, though quieter in palette, is one of the loudest in emotional tension. It captures the essence of denial—not just the artist's moniker, but the human behavior—where feelings are buried beneath public declarations. Craftsmanship and Collectibility of the Hate Edition Printed with pigment-based inks on 330gsm acid-free fine art paper, the Hate edition is crafted to maintain both visual integrity and physical longevity. The texture of the paper allows the grayscale tones to achieve subtle variations in shading, while the precision of the print highlights every line and halftone. Each piece is signed and numbered by the artist, affirming its value as a collectible within Denial’s larger body of work. The choice to release this variant in a small edition of 25 enhances its exclusivity and relevance, especially for collectors attuned to the emotional narratives within pop art. As a statement within Street Pop Art & Graffiti Artwork, the Hate variant serves as a reminder that even the boldest images can carry quiet, unresolved messages. It is a visual testament to the moments where the world insists things are better—but the body, and the face, still remember.

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NØISE/SSI Resurrectionem Ex-Mortuis Remix 2-Color Hand-Pulled Limited Edition Silkscreen Print on Cream Speckle Tone Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. 18 inches by 18 inches Edition of 400 March 30, 2021 About I have been friends with John Goff for 25 years. He was a fan of my art and used to generously help me print. We often bonded over music from the Melvins, to Kraftwerk, to RUN-DMC. John has been a musician most of his life, playing in several different music projects over the years, including SSI which is a collaboration between John and his brother Will. When I started DJ’ing John would help me with the production of remixes. Eventually, we started producing some music together, and with the valuable addition of Merritt Lear and Joe Cassidy, we formed Nøise. -Shepard Fairey

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Cathedral AP Artist Proof Artwork Giclee Limited Edition Print on 290gsm Fine Art Paper by Pop Culture Graffiti Artist Kari-Lise Alexander. AP Artist Proof 2017 Signed & Marked AP Limited Edition Giclee Artwork Size 18x18 Kari-Lise Alexander’s Cathedral: The Fluidity of Identity in Contemporary Pop-Inspired Surrealism Kari-Lise Alexander’s Cathedral, released as an 18 x 18 inch signed Artist Proof in 2017, presents a hypnotic portrait that blends photorealistic precision with elements of surreal distortion. This giclée print on 290gsm fine art paper captures a figure partially obscured by cascading water, flowers, and organic abstraction. The subject, a pale-skinned woman draped in vibrant blossoms, is simultaneously present and vanishing, her body dissolving into fluid motion. The transparency of water acts as a veil, distorting reality and transforming the portrait into a meditation on impermanence, transformation, and self-concealment. Alexander, known for her figurative surrealism, often incorporates themes of water, femininity, and nature into her work. In Cathedral, she positions the viewer as both witness and intruder, observing a moment of private reflection through a barrier of falling water. The water does not merely frame the composition—it reshapes it. Faces blur. Petals smear. The painting becomes an active space where emotion is filtered through liquid movement. This dynamic use of transparency offers more than visual interest; it becomes a metaphor for the slippery, ever-shifting boundaries of personal identity. Hyperreal Texture Meets Atmospheric Abstraction The interplay between realism and abstraction in Cathedral is deliberate and poetic. The figure’s facial expression is rendered with lifelike accuracy—delicate shadows, tightly painted features, and emotional weight. Yet her body, partially hidden by wet streaks and botanical textures, seems to dissolve into the background. This creates a tension between what is defined and what is disappearing. Kari-Lise Alexander utilizes oil-like effects in a digital print medium to mimic the unpredictability of nature and the complexity of inner life. The circular framing device behind the figure may evoke the architectural structure implied by the title. A cathedral, often associated with spiritual sanctuary and towering form, contrasts with the vulnerability of the exposed body and the ephemeral texture of water. The contrast suggests that the true place of worship in this work is not stone or space, but the internal landscape of emotion and memory. The circle becomes both halo and lens—focusing the viewer’s attention while abstracting the context. Symbolism of Nature and the Female Form In Cathedral, floral imagery serves as more than decorative flourish. The dense crown of peonies, berries, and green vines placed on the figure’s shoulders connects her to cycles of life and growth. The flowers are not merely worn—they appear to grow from her, reinforcing a fusion between the natural world and the self. Water, often a recurring motif in Kari-Lise Alexander’s paintings, amplifies this symbolism. It signifies renewal, decay, and emotional release all at once. In combination, these elements create a visual language where the feminine body becomes both the temple and the terrain. Though not strictly situated within traditional Street Pop Art & Graffiti Artwork, Cathedral echoes contemporary movements that challenge the line between classical portraiture and cultural commentary. The work’s ethereal energy, paired with its striking surface distortion, aligns it with a broader pop-influenced aesthetic that merges beauty with introspection, and figuration with experimentation. Kari-Lise Alexander's work expands the vocabulary of modern surrealism by using tactile realism to explore the unseen interior—turning emotion, memory, and transformation into arresting visual experiences.

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