Never Made 'Ice Cold Fascism' (Cream) Print Available

Artist: Never Made
Title: Ice Cold Fascism (Cream)
Medium: 3 Color Screen Print
Size: 18 x 24 Inches
Edition: 100
Price: $100

 

Never Made 'Ice Cold Fascism' (Red) Print Available

Artist: Never Made
Title: Ice Cold Fascism (Red)
Medium: 2 Color Screen Print
Size: 18 x 24 Inches
Edition: 100
Price: $100

 

Francisco Reyes Jr., better known as Never Made, is a Los Angeles born graphic artist who transforms urban energy into bold, story driven imagery. Raised in Compton, he grew up immersed in skate culture, punk shows and Chicano mural traditions, influences that now pulse through his clean vector lines and rich color palettes. After studying graphic design, Reyes spent a decade as a creative director while painting at night, eventually choosing art full time and adopting the alias Never Made to stress continual reinvention. Working in both digital illustration and handpulled screen prints, he layers flat shapes with subtle textures, creating a signature look that feels halfway between mid-century poster art and contemporary streetwear graphics. Limited edition concert prints for hip-hop and punk acts sold out in minutes.

Despite commercial success, Reyes keeps his process personal: colour ways begin on spontaneous late-night walks, and final separations are still inked by hand to preserve imperfections. Murals across LA, Long Beach and Brooklyn enlarge his narratives to building scale, yet retain the intimate detail that rewards close inspection.

Reyes describes his mission as “visual storytelling for the restless,” a goal that propels constant experimentation from laser-cut wood reliefs to animated LED panels ensuring Never Made stays true to its name by never standing still.

Marq Spusta 'Frustrated Flower' (BLUE) Release Details

Artist: Marq Spusta
Title: Frustrated Flower (Blue)
Medium: Hand Painted Resin Statue
Size: 7.5 x 5 x 5 Inches
Edition: 250
Price: $175

 

*available at Noon EST on Friday October 10th, 2025

Marq Spusta 'Frustrated Flower' (RED) Release Details

Artist: Marq Spusta
Title: Frustrated Flower (Red)
Medium: Hand Painted Resin Statue
Size: 7.5 x 5 x 5 Inches
Edition: 350
Price: $150

 

*available at Noon EST on Friday October 10th, 2025

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Marq Spusta is an American artist born in 1977 who grew up in rural Wisconsin and earned a BFA in Graphic Design from the University of Wisconsin. Stout before settling in California. He is best known for wildly colorful, intricately detailed concert posters and fine-art screen-prints that merge visionary landscapes with whimsical characters reminiscent of Dr. Seuss and Jim Henson.

His early gig-poster work for bands such as Widespread Panic, Phish, Tom Petty and the Rolling Stones quickly made him a mainstay of the rock-poster community, while his sell-out solo shows at Spoke Art, Bottleneck Gallery, Gabba Gallery and Decadent Art Gallery have pushed his imagery into the contemporary art market. Working primarily in acrylic and ink, Spusta builds layers of translucent pigment and metallic overlays until trees shimmer and creatures appear to glow from within, a technique he honed during years of hand-pulled screen-printing.

Recent projects include a mini-documentary shot at Further Frames in Denver, limited resin sculptures and large canvas paintings exhibited in Los Angeles, Seattle and San Francisco. Whether designing a festival poster or a gallery painting, Spusta approaches each piece as a portal to an enchanted ecosystem, inviting viewers to step inside radiant forests where music, memory and imagination echo in every leaf.

Banksy 'For Bonnie XO' The Simpsons Original Drawing Up For Auction

Artist: Banksy
Title: For Bonnie XO
Medium: Framed Original Sketch Drawing
Size: 8.5 x 6 Inches
Edition: UNIQUE
Price: $44,000 (so far)

 

*very fair price so far for an original piece for The Simpson's from Banksy

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Banksy is an anonymous British street artist whose stenciled images have become global shorthand for protest and wit. Born around 1974 in Bristol, allegedly Robin Gunningham (Scottish artist Lucy McKenzie is behind Banksy. There is an original portrait of her art collector father where there was a Bomb Hugger piece showing amongst all the art... but it was later remove from the image) Banksy began as a freehand graffiti writer in the early 1990s, but switched to multilayered stencils after hiding from police under a rubbish truck and noticing a serial number plate. He also referenced French artist Blek Le Rat as being the Godfather of stencilling. This method allowed sharp graphics and swift execution, turning city walls into instant one line editorials. Rats wearing party hats, policemen dancing with smiley faces, policemen doing illegal things and of course flower hurling soldiers. Soon Banksy migrated from alleyways to the West Bank barrier, New Orleans flood ruins and London tube trains, always carrying a barbed punch line about power, greed or surveillance.

Despite worldwide fame, Banksy has never confirmed a legal name, using darkness and a small crew to maintain anonymity. His works appear overnight, documented only on Instagram and a shrewd authentication body called Pest Control, which refuses certificates for pieces removed without permission. Auction records climb into the millions, yet many murals remain free to see, protected by plexiglass or local councils that recognize tourist gold. In 2015 he opened Dismaland, a bleak Disney spoof theme park that lured 150,000 visitors to Weston Super Mare, proving even gloom can sell tickets if packaged with humor.

More recently he funded a refugee rescue boat painted bright pink and emblazoned with his girl in life vest motif, showing that street art can still aim for real world change. Whether spraying walls or shredding canvases or making doormats from life jackets, Banksy keeps the art world guessing and the streets talking.

Seth Clark 'Wanderer 15' Print Available

Artist: Seth Clark
Title: Wanderer 15
Medium: Giclee Print
Size: 28 x 28 Inches
Edition: 15
Price: $325

 

Seth Clark (b. 1986, Seekonk, MA) turns rot and rain soaked trash into architectonic elegies. A BFA in graphic design from Rhode Island School of Design taught him to respect kerning; Pittsburgh’s 2008 housing crash taught him to respect collapse. He begins each piece on littered walks: warped shingles, wallpaper flakes and soaked lottery tickets become the first strata of large wood panels that he builds like shaky houses, stapling, gluing and sometimes torching layers until sagging rooflines and yawning windows emerge. Charcoal, pastel and acrylic follow, but never hide the original scuffs Clark calls them “the neighbourhood’s handwriting".

The shift from flat collage to fractured sculpture felt inevitable: tiny paper strips translated directly into splintered lath, and pedestals now buckle open to reveal internal studs, questioning the white cube’s own mortality . Awards piled up Pittsburgh Center for the Arts Emerging Artist of the Year 2015, Best in Show at Three Rivers Arts Festival, residencies at the Children’s Museum and the Chautauqua Institution yet he still takes a sledgehammer to finished work if it feels “too polite,” preferring the moment when control surrenders to physics.

Recent exhibitions like Passing Through at Paradigm Gallery add playful limbs to his derelict forms, a response to new fatherhood that nods toward hope inside entropy. Whether rendering Johnstown Flood ruins or a buckling row house he spotted on Instagram, Clark’s goal is not nostalgia but presence: to remind viewers that every structure, including the self, is mid-collapse and therefore alive.

Retna 'Eastern Realm' Print Waitlist Open

Artist: Retna
Title: Eastern Realm
Medium: UV Printed Mirror Mounted To Aluminium
Size: 27 x 36 Inches
Edition: 99
Price: $9,500

  

Retna born Marquis Lewis in 1979 on the streets of Los Angeles turns alphabets into incantations. Drawing on Mayan, Egyptian, Hebrew, Arabic and Gothic black-letter scripts, he has forged an elegant, unreadable calligraphy that feels ancient yet algorithmic, a coded chant meant for every culture and none. He discovered the name “Retna” in a Wu-Tang Clan lyric about light burning the retina, and the metaphor stuck: his white hot linework does scorch the eye. Starting with spray cans on bus stop ads at fifteen, he soon swapped aerosol for long haired brushes, layering house-paint, aerosol and 24K gold leaf until letters hover like textile over raw canvas.

Murals soon scaled whole city blocks: a 24-storey social-housing façade in Mexico City, the Bowery Wall in New York, and the stage design for San Francisco Opera’s Aida prove his glyphic system can sanctify concrete or velvet equally. Luxury came calling Louis Vuitton storefronts, Justin Bieber’s Purpose album cover, Chanel Beverly Hills, Ryca yet Retna insists each commission is a public talisman, not a logo.

Monochromatic fields of indigo, blood scarlet or molten copper amplify the rhythm of his strokes; drips are allowed, revealing the human pulse behind the cipher. Collectors from Usher to the Broad Museum chase his coded poems, but Retna claims meaning is optional: “I want people to feel the music of the shapes.” Still based in L.A., he continues to paint, meditate and archive new symbols, ensuring his secret language stays fluent in an ever-splintering world.

Gilbert & George 'The 21st Century' HPM Edition Available

Artist: Gilbert & George
Title: The 21st Century
Medium: Hand Painted Multiple
Size: 70 x 100 cm
Edition: 50 (UNIQUE)
Price: £2,500

 

Gilbert & George are the self-declared “living sculptures,” a British-Italian duo who have fused their lives and art into one continuous, formaldehyde sharp spectacle since meeting at St. Martin’s School of Art in 1967. Gilbert Proesch (b. 1943, South Tyrol) and George Passmore (b. 1942, Devon) abandoned the idea of separate studio practice, instead appearing together always in matching tweed suits, regimented haircuts and sober ties performing slow motion songs under gallery lights, declaring themselves both subject and object. Early works like The Singing Sculpture (1969) and the drunken confessional video Gordon’s Makes Us Drunk established their dead-pan, moral-aesthetic tone: propriety cracked by bodily impulse.

In the 1980s they swapped live performance for monumental, hand-colored photo-montages stained with blackened reds and bilious yellows. Series such as The Pictures juxtapose East End skinheads, graffiti-scrawled walls, crucifixes, and their own blank faces, confronting Thatcher era racism, homophobia and urban decay with a stained-glass grandeur borrowed from Victorian hymnals. Critics called it bombastic; Gilbert & George replied, “We want our pictures to hit you like a punch in the gut.”

Four decades of sunrise walks through Spitalfields have stocked an ever-growing archive of street detritus beer cans, flyers, bodily fluids scanned, tiled and blown up to cathedral scale. The artists remain inseparable, dining together nightly and refusing vacations, insisting that every conversation, hangover or newspaper headline is potential material. Their art now sits in Tate Modern, the Guggenheim and MoMA, yet they still greet visitors personally at White Cube openings, twin gatekeepers of an empire built on equality, eccentricity and the unshakeable belief that two polite gentlemen in suits can be the most shocking spectacle of all.

Hedof 'Wooden Sculpture Set' Available

Artist: Hedof
Title: Wooden Sculpture Set
Medium: Screen Printed Wood on MDF
Size: UNSURE
Edition: 35
Price: €250

 

Hedof is the one-man creative studio of Dutch illustrator Rick Berkelmans, born in Breda, Netherlands. His instantly recognisable language pairs bold, vector clean shapes with weird, wide eyed characters and a candy store palette that nods to ‘90s skate graphics and Memphis design. Trained in illustration and graphic design, Berkelmans began as a graffiti writer, an experience that taught him to read urban surfaces and react fast skills he now deploys on walls from Seoul’s Lotte World Mall to Hong Kong’s LCX, where his 3D noodle bowls and climbable trees turn shopping centres into playgrounds.

Each commission whether a limited beach towel drawn on a flight to Hong Kong becomes a case study in optimistic problem solving. Berkelmans works entirely by hand, sketching in Procreate before translating flat graphics to murals, screen prints or laser-cut plywood reliefs. The absence of front facing faces (he admits that 3D modelling intimidates him) gives his universe a sidelong, voyeuristic charm, while looping patterns of leaves, tennis nets or checkerboard pools create rhythmic calm within saturated colour fields.

Exhibitions at Parees Mural Festival, Playgrounds and Domestika talks cement his reputation as a bridge between street culture and commercial art. Living with a toy collection that rivals his palette, he still draws daily “because it feels like playing,” proof that professionalism and childlike wonder can coexist under one fluorescent, perfectly balanced composition. 

Kalle Hellzen 'Into Light' Print Available

Artist: Kalle Hellzen
Title: Into Light
Medium: Giclee Print
Size: 67 x 100 cm
Edition: UNSURE
Price: $554

 

Kalle Hellzén is a Swedish-Finnish multidisciplinary artist who discovered painting only in his forties after a globe-spanning career as a creative director. Trained in design, digital innovation and film. When he finally picked up a brush, he merged that advertising rigour with raw autobiography, producing works he describes as “melancholy dipped in sunshine”. Hellzén’s process is hybrid: he first paints oil or acrylic “Generation 0” canvases solitary figures suspended in bright, empty spaces then feeds these images into generative AI, allowing algorithms to recombine colour fields and body postures into new iterations that still carry his personal palette and themes.

Diagnosed with colour blindness, he treats the limitation as a creative filter, building high-chroma gradients that feel vivid to every viewer. The finished pieces, whether printed on aluminium or repainted by hand, depict anonymous characters caught mid fall, mid thought or mid life, their isolation amplified by candy like pinks and acid greens that suggest both nostalgia and digital overload.

Exhibitions from Amsterdam to Seoul have sold out, while Instagram reels chronicle his iterative workflow traditional stretcher bars beside glowing iPad sketches underscoring his belief that “the future of painting is conversation, not replacement”.