Trippy

1 artwork

  • It’ll Be Over Soon Silkscreen Print by Murugiah

    Murugiah It’ll Be Over Soon Silkscreen Print by Murugiah

    It’ll Be Over Soon Silkscreen Print by Murugiah Hand-Pulled on Fine Art Paper Limited Edition Pop Street Art Artwork. 2023 Signed & Numbered Limited Edition of 100 Artwork Size 24x36 Silkscreen Print "It'll Be Over Soon" is a silkscreen print by the artist Murugiah, known for his colorful, imaginative, and bold illustrations. Born Sharm Murugiah in London, England, he is a British artist of Sri Lankan heritage. Murugiah is recognized for his dynamic and highly detailed work, which often incorporates a blend of pop culture, surrealism, and traditional art styles. He has produced designs for various clients, including movie posters, album covers, and illustrations for books and magazines. The "It'll Be Over Soon" silkscreen print, like many of Murugiah's works, features a visually striking composition and a vibrant color palette. It’ll Be Over Soon Silkscreen Print by Murugiah addresses themes of transience, hope, and resilience, which will resonate with viewers emotionally.

    $211.00

Trippy Graffiti Street Pop Art

Trippy as Visual Disruption in Street Pop Art & Graffiti Artwork

Trippy is a term often associated with altered states and psychedelic imagery, but in the context of Street Pop Art & Graffiti Artwork, it serves as a dynamic tool for disrupting visual logic and cultural expectations. Artists across generations have used trippy aesthetics to challenge linear thinking and confront passive viewership. These works often feature optical illusions, warped anatomy, vivid color clashes, and surrealist motifs that pull from both psychedelic subculture and mass media iconography. Within graffiti and pop traditions, the trippy sensibility transforms walls, canvases, and prints into portals that distort time, identity, and perception.

From Psychedelia to Urban Expression

The origins of trippy imagery in art trace back to the countercultural revolution of the 1960s, where music posters, underground zines, and album covers became laboratories for visual experimentation. Those same hallucinogenic patterns and color explosions migrated to street walls in the 1980s and 1990s, merging with graffiti tags and hip-hop-driven iconography. Street Pop Art expanded the application, embedding comic book fonts, ad logos, and cartoon faces into warped universes. Artists like Kenny Scharf and Rammellzee bent the visual grid with compositions that felt electric and unstable, helping cement trippy as a cornerstone of rebellious visual language in the urban art scene.

Color Theory and Chaos in Contemporary Use

In contemporary graffiti and Street Pop Art, trippy does not always mean nostalgic. It often pushes forward with updated palettes that lean into digital glow, neon bleed, and glitch-inspired gradients. The result is a visual overload that mimics modern digital overstimulation while retaining the freedom and intensity of analog psychedelia. Trippy artworks collapse space and perspective, forcing viewers to navigate layered elements that twist traditional forms into something surreal and saturated. Through this method, trippy becomes more than a style—it is a visual commentary on fragmentation, repetition, and subconscious interpretation.

Trippy as a Cultural Frequency

Trippy is not simply an aesthetic decision. It is an assertion of freedom against rigid design standards and intellectual containment. In Street Pop Art & Graffiti Artwork, trippy energy creates space for joy, confusion, rebellion, and deep reflection. Whether rendered in fine art prints, hand-painted murals, or underground zines, the trippy impulse keeps the medium alive by refusing to sit still or be decoded easily. It is unpredictable, often humorous, sometimes menacing, but always immersive. As artists continue to explore what urban art can say and feel like, trippy remains one of its most powerful visual frequencies.

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© 2025 Sprayed Paint Art Collection,

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