Roxier 'Kissing Lips' Print Available

Artist: Roxier
Title: Kissing Lips
Medium: Giclee Print
Size: (A2) 42 x 59.4 cm
Edition: 100
Prices: $200

 

Roxier is the collaborative studio name of Dutch painters Ronald Hunter and Femke Veenstra, a duo who fuse abstract expressionism with contemporary design to create vibrant, layered artworks. Ronald Hunter, born in 1973, brings a background in graphic design and advertising, while Femke Veenstra, born in 1986, contributes a fine arts perspective rooted in color theory and textile arts. Together, they merge their strengths to produce dynamic compositions that celebrate color, texture, and movement.

Working primarily with acrylics and mixed media on canvas, the duo builds their pieces through a process of layering, sanding, and repainting, creating depth and history within each work. Their compositions often feature bold color blocks, sweeping gestural marks, and subtle geometric elements, resulting in a balance between chaos and control. Texture plays a key role, with thick impasto areas contrasting against smooth, almost translucent washes, inviting viewers to explore the surface up close.

Roxier’s work is influenced by mid-century modern art, Scandinavian design, and urban street art, reflecting a contemporary aesthetic that appeals to both collectors and interior designers. Their pieces are often large-scale, designed to make a statement in modern spaces, and are finished with a glossy resin or matte varnish that enhances the colour and texture.

Exhibited internationally and available through select galleries and online platforms, Roxier’s artworks have found homes in private and corporate collections worldwide. Whether working on a single canvas or a diptych, Hunter and Veenstra approach each piece collaboratively, sometimes painting simultaneously, other times passing the work back and forth, allowing intuition and dialogue to guide the final outcome. Through Roxier, they celebrate the joy of creation and the endless possibilities of abstract art.

PDot 'C3PO' Ghost Available

Artist: PDot
Title: C3PO Ghost
Medium: Framed Foil on Foam Board
Size: 40 x 40 cm
Edition: UNIQUE
Prices: €200

 

PDot is a British mixed-media artist who turns urban debris into luminous contemporary relics. Born in 1981 and raised in the post-industrial landscape of northern England, he grew up skateboarding past crumbling mills and collecting rusted bottle tops, an archive of discarded metal that now forms the backbone of his practice. Working from a former textile warehouse in Leeds, he layers aerosol, screen-print and resin over sheets of reclaimed steel, tin and lead, building surfaces that shimmer like oil slicks caught in sunrise.

His imagery merges hard-edge abstraction with fragments of pop culture: torn sweet wrappers, vintage toy adverts and cryptic slogans float amid geometric shards of chrome and cobalt. The process is both additive and reductive; he sands, scratches and torches the metal to expose raw oxidisation, then seals the decay under high-gloss resin so rust becomes jewel-like. Each piece is titled after forgotten brands or playground rhymes, nudging viewers toward half-remembered childhoods while confronting the throwaway culture that fuels climate anxiety.

Commercial clients including Dr. Martens and Red Bull have commissioned large-scale walls, yet PDot balances paid work with grassroots projects, teaching local teenagers to turn scrap into statement pieces for community gardens. Recent exhibitions at Sunny Bank Mills and The Art House Wakefield sold out, with collectors praising the way his work “makes entropy beautiful.”

Whether welding a three-metre shard of factory roof into a wall relief or hand-painting a limited vinyl toy, PDot approaches every surface with the same goal: transform what society discards into objects worth preservation, proving that beauty can bloom anywhere corrosion and creativity collide.

SKIO 'Mondrian's Castle' Print Available

Artist: SKIO
Title: Mondrian's Castle
Medium: Giclee Print
Size: 50 x 70 cm
Edition: 30
Prices: €140

 

SKIO is a contemporary street artist and muralist whose vivid, large-scale works transform urban walls into celebrations of colour and movement. Born in the early 1990s and raised in a coastal town in southern England, he grew up surrounded by sea air, skate culture and the ever-changing light of the shoreline, influences that now pulse through every spray-painted surface. Working almost exclusively with aerosol, he builds luminous compositions that merge graffiti handstyle with abstract expressionism, creating pieces that feel both spontaneous and meticulously balanced.

His process begins with loose charcoal arcs that map the wall’s energy, then layers of high-pigment spray paint are pushed and pulled with caps ranging from fine line to soft feather, allowing drips, overspray and sudden colour shifts to remain as evidence of motion. SKIO’s palette leans toward hot corals, turquoise, sunflower and metallic silvers, hues that shimmer against raw brick and concrete, suggesting sunrise over water or the shimmer of fish scales caught in sunlight. Figures rarely appear; instead, swirling ribbons, fractured letterforms and botanical silhouettes drift across the surface, inviting viewers to project their own narratives into the abstract field.

Recent commissions have brightened university campuses, coastal promenades and inner-city basketball courts, while festival appearances at Upfest and Sand, Sea and Spray have drawn crowds who watch him complete a six-metre wall in a single, continuous session. Despite growing demand, SKIO continues to paint without stencils or projections, insisting that the slight wobble of a freehand line keeps the work human.

When he is not on a lift or scaffold, he teaches community workshops, encouraging teenagers to treat spray cans as tools of optimism rather than vandalism. Through every burst of colour, SKIO offers a simple promise: look up, breathe deep, and remember that even the greyest city wall can become a window into joy.

David Welker 'Mind City' Print Release Details

Artist: David Welker
Title: Mind City
Medium: Giclee Print
Size: 24 x 18 Inches
Edition: 100
Prices: $200

 

*available at 1pm EST on Wednesday November 5th, 2025

_________________ 

David Welker is an American painter, muralist, and printmaker born in 1964 in Poughkeepsie, New York. He studied painting and illustration at Syracuse University and has built a career blending fine-art technique with rock-and-roll energy. His elaborate gig posters for bands such as Phish, Pearl Jam, The Black Keys, and Primus have become collector items, while his 1993 cover for Phish’s album Rift was listed among the ten best album covers of all time by Relix magazine.

Welker’s visual language fuses Depression-era surrealism, underground comix, West-Coast surf culture, and early 20th-century Ashcan School realism. Working almost entirely by hand, he layers ink, graphite, and acrylic to create dense narratives packed with symbolic figures, distorted architecture, and his own ornate lettering that marries 19th-century sign typography with modern graffiti flair. Each piece begins as loose thumbnail sketches; colour separations are drawn manually rather than computer-generated, ensuring every print bears the subtle irregularities of craft.

Beyond concert art, Welker has spent decades on private mural commissions, once specializing in Chinoiserie wall paintings for luxury residences, an experience he credits with sharpening his technical range while teaching him that legacy matters more than lavish settings. Now focused on gallery work, he continues to explore subconscious storytelling, producing large canvases where urban realism dissolves into dreamlike fantasy and where beauty is, in his words, “beautiful when it’s based in honest emotion and conveyed with appropriate discipline”. Whether painting a rooftop mural in New York or pulling a limited screen print, Welker invites viewers to lose themselves in intricate worlds that pulse with music, memory, and the restless spirit of American popular culture.

Shepard Fairey/Obey + Alfredo Gonzalez/Dofre 'Make Art Not War' (Black) Print Release Details

Artist: Shepard Fairey/Obey + Alfredo Gonzalez
Title: Make Art Not War (Black)
Medium: Handpulled Multi Color Screen Print
Size: 18 x 24 Inches
Edition: 150
Prices: $120

 

*available at 1pm EST on Thursday November 6th, 2025

________________ 

Frank Shepard Fairey, born 15 February 1970 in Charleston, South Carolina, is the creative force behind the global OBEY movement. While studying illustration at Rhode Island School of Design he launched the 1989 sticker campaign André the Giant Has a Posse, transforming a grainy newspaper photo of the wrestler into a stark black-and-white icon accompanied only by the command “OBEY”. The project was never about the man; it was an experiment in viral psychology, testing how a meaningless image could propagate through skate parks, city walls and college dorms once it looked official and appeared everywhere. Fairey’s answer came quickly: the sticker multiplied, becoming one of the most ubiquitous street images of the 1990s and laying the groundwork for his clothing label OBEY Clothing (est. 2001) and design agency Studio Number One (2003).

Fairey’s style marries the visual punch of propaganda posters with the immediacy of DIY print culture. Hand-cut stencils, bold blocks of red, white and black, and crisp vector lines deliver messages that are easy to read from a moving bus yet rich in layered meaning. He cites Soviet constructivism, 1980s skateboard graphics and punk flyers as equal influences, and his philosophy is simple: “question everything”. That ethos turned political in 2008 when he created the HOPE portrait of then-senator Barack Obama, a screen-print that fused his signature palette with a forward-gazing gaze and the single word “HOPE”. The image became the unofficial emblem of Obama’s presidential campaign, praised by The New Yorker as the most efficacious American political illustration since Uncle Sam Wants You.

Since then Fairey has focused on issues rather than personalities, tackling climate change, campaign-finance reform, gun violence and human rights through posters, murals and limited-edition prints. His process remains hands-on: he cuts stencils by hand, pulls his own screens and pastes works on walls from Los Angeles to Lisbon, insisting that reproducibility keeps art democratic. Institutions including MoMA, the Smithsonian and London’s V&A have acquired his prints, yet he continues to paste illegally, proving that museum validation has not dulled his subversive edge.

Today Fairey lives and works in Los Angeles, producing monumental murals, album covers and clothing graphics that continue to blur the boundary between fine art, commerce and activism. Whether painting a five-storey portrait of a voting rights activist or releasing a run of anti-NRA stickers, he treats every surface as public space for civic dialogue, demonstrating that ink on paper can still shift consciousness and, occasionally, history itself.

Alfredo Gonzalez, who signs his work Dofre, is an Oxnard-based contemporary artist represented by Sugar Press Art. Born with graffiti roots, he merges traditional oil painting with bold, deconstructed portraiture to create what critics call “disrupted realism”. Using brushes, palette knives and aerosol, he builds fractured faces where eyes, mouths and hands float across raw linen, suggesting emotional dislocation rather than physical likeness.

His palette balances classical ochres with neon sprays, allowing thick impasto to collide with transparent glazes so the surface flickers between old master depth and street art immediacy. Recent series such as Aún Así layer metallic gold over asphalt black, then scratch away sections to reveal under-painting, a technique that mirrors the way memory erodes and reforms. Each limited edition is hand embellished, ensuring no two prints are identical.

Gonzalez exhibits widely, from Grand Bohemian Gallery group shows to online drops that sell out within hours. Through every ruptured portrait he offers a single message: identity is never fixed, but always in flux, painted and repainted by experience, culture and the city that raised him.

Shepard Fairey/Obey + Alfredo Gonzalez/Dofre 'Make Art Not War' (Cream) Print Release Details

Artist: Shepard Fairey/Obey + Alfredo Gonzalez
Title: Make Art Not War (Cream)
Medium: Handpulled Multi Color Screen Print
Size: 18 x 24 Inches
Edition: 150
Prices: $120

 

*available at 1pm EST on Thursday November 6th, 2025

________________

Frank Shepard Fairey, born 15 February 1970 in Charleston, South Carolina, is the creative force behind the global OBEY movement. While studying illustration at Rhode Island School of Design he launched the 1989 sticker campaign André the Giant Has a Posse, transforming a grainy newspaper photo of the wrestler into a stark black-and-white icon accompanied only by the command “OBEY”. The project was never about the man; it was an experiment in viral psychology, testing how a meaningless image could propagate through skate parks, city walls and college dorms once it looked official and appeared everywhere. Fairey’s answer came quickly: the sticker multiplied, becoming one of the most ubiquitous street images of the 1990s and laying the groundwork for his clothing label OBEY Clothing (est. 2001) and design agency Studio Number One (2003).

Fairey’s style marries the visual punch of propaganda posters with the immediacy of DIY print culture. Hand-cut stencils, bold blocks of red, white and black, and crisp vector lines deliver messages that are easy to read from a moving bus yet rich in layered meaning. He cites Soviet constructivism, 1980s skateboard graphics and punk flyers as equal influences, and his philosophy is simple: “question everything”. That ethos turned political in 2008 when he created the HOPE portrait of then-senator Barack Obama, a screen-print that fused his signature palette with a forward-gazing gaze and the single word “HOPE”. The image became the unofficial emblem of Obama’s presidential campaign, praised by The New Yorker as the most efficacious American political illustration since Uncle Sam Wants You.

Since then Fairey has focused on issues rather than personalities, tackling climate change, campaign-finance reform, gun violence and human rights through posters, murals and limited-edition prints. His process remains hands-on: he cuts stencils by hand, pulls his own screens and pastes works on walls from Los Angeles to Lisbon, insisting that reproducibility keeps art democratic. Institutions including MoMA, the Smithsonian and London’s V&A have acquired his prints, yet he continues to paste illegally, proving that museum validation has not dulled his subversive edge.

Today Fairey lives and works in Los Angeles, producing monumental murals, album covers and clothing graphics that continue to blur the boundary between fine art, commerce and activism. Whether painting a five-storey portrait of a voting rights activist or releasing a run of anti-NRA stickers, he treats every surface as public space for civic dialogue, demonstrating that ink on paper can still shift consciousness and, occasionally, history itself.

•

Alfredo Gonzalez, who signs his work Dofre, is an Oxnard-based contemporary artist represented by Sugar Press Art. Born with graffiti roots, he merges traditional oil painting with bold, deconstructed portraiture to create what critics call “disrupted realism”. Using brushes, palette knives and aerosol, he builds fractured faces where eyes, mouths and hands float across raw linen, suggesting emotional dislocation rather than physical likeness.

His palette balances classical ochres with neon sprays, allowing thick impasto to collide with transparent glazes so the surface flickers between old master depth and street art immediacy. Recent series such as Aún Así layer metallic gold over asphalt black, then scratch away sections to reveal under-painting, a technique that mirrors the way memory erodes and reforms. Each limited edition is hand embellished, ensuring no two prints are identical.

Gonzalez exhibits widely, from Grand Bohemian Gallery group shows to online drops that sell out within hours. Through every ruptured portrait he offers a single message: identity is never fixed, but always in flux, painted and repainted by experience, culture and the city that raised him.

Kerry James Marshall 'Vignettes' Folio Available

Artist: Kerry James Marshall
Title: Vignettes
Medium: Giclee Prints
Size: (A3) 29.7 x 42 cm
Edition: UNSURE
Prices: £195

 

Kerry James Marshall is an American painter born in Birmingham, Alabama, in 1955, whose real name is Kerry James Marshall. He is celebrated for placing Black subjects at the center of Western art history, using deep, obsidian pigments to assert presence and challenge centuries of erasure. After moving to Los Angeles in 1963 and studying at Otis College of Art and Design, he developed a precise, layered technique that fuses Renaissance glazing with contemporary narrative, often working in egg tempera for unmatched chromatic depth.

His landmark pieces include A Portrait of the Artist as a Shadow of His Former Self (1980), a near-black figure emerging from an equally black ground, and the monumental Many Mansions (1994), where three impeccably dressed men tend a flowerbed in front of crumbling public housing, ironically titled after a biblical promise of abundance. These works confront stereotypes while infusing scenes of everyday Black life with dignity, hope and biting satire.

Marshall’s practice extends to history painting, collage and public murals, all aimed at “wrestling with the sinewy, sneaky forces of colonization, privilege and erasure”. His 2012 canvas School of Beauty, School of Culture reimagines Velázquez’s Las Meninas inside a bustling African American hair salon, complete with a distorted Disney princess that critiques Western beauty standards.

Recipient of a 1997 MacArthur Fellowship and the 2014 Wolfgang Hahn Prize, Marshall continues to live and work in Chicago, producing works that insist on the visibility, complexity and beauty of Black experience within the grand narrative of art.

Eelus 'Weight Of Choice' Print Available

Artist: Eelus
Title: Weight Of Choice
Medium: Varnished Giclee Print
Size: 50 x 70 cm
Edition: 35
Prices: £200

 

Eelus is the professional alias of Lee Pennington, a self taught British artist born in Wigan in 1979 who helped shape the early UK street art scene. He began selling hand drawn Teenage Mutant Ninja Turtles posters to classmates at age nine, an enterprise that funded extra chocolate bars and foreshadowed a lifelong obsession with accessible art. After moving to London in the early 2000s he adopted the moniker Eelus, a shortening of “Eel Boy,” a nickname given by an ex girlfriend who thought his tall, goth like silhouette resembled the slippery creature.

Working exclusively with hand cut stencils and aerosol, he creates high impact images that merge stark monochrome figures with sudden eruptions of candy colour, suggesting the perpetual tension between light and dark while celebrating the resilience of the human spirit. His breakthrough piece, a young girl walking a Star Wars AT-AT on a leash, appeared on East End walls and sold out as a limited print through Banksy’s Pictures on Walls label, catapulting Eelus into the international spotlight and becoming an icon of the burgeoning movement.

Invitations followed to paint at Banksy’s Cans Festival and to exhibit alongside Shepard Fairey and D*Face, yet Pennington has remained grounded, relocating to Brighton where the sea breeze informs quieter, more introspective works. Recent murals feature spectral silhouettes dissolving into prismatic rainbows, and gallery canvases layer gold leaf over pitch black forms, proving that even after two decades his visual language continues to evolve while retaining its signature optimism. Whether printing on paper, painting on brick or installing translucent sculptures in abandoned chapels, Eelus offers the same promise: beauty can bloom anywhere darkness tries to take root.

Thierry Noir 'On The Road To Happiness And Success' Print Application Open

Artist: Thierry Noir
Title: On The Road To Happiness And Success
Medium: 8 Color Screen Print
Size: 131 x 60 cm
Edition: 50
Prices: £1,800

 

Thierry Noir, born Thierry Noir in 1958 in Lyon, France, is a pioneering French artist and muralist celebrated for his vibrant, simplified aesthetic and his historic role in transforming the Berlin Wall into a canvas of resistance. In January 1982, drawn by the creative energy of West Berlin and inspired by musicians like David Bowie and Iggy Pop, he moved to the city with little more than two suitcases and a one-way train ticket. Living in a squat overlooking the Wall, he was struck by the oppressive, monochrome atmosphere and began painting it illegally in April 1984, becoming the first artist to do so.

Working under constant threat of arrest by East German border guards, Noir developed his now-iconic “Fast Form Manifest” style: bold, continuous black outlines filled with bright, flat colours, often completing murals in minutes. His figures elongated profiles with big noses and bulging eyes were not meant to beautify the Wall but to demystify and ridicule it, turning a symbol of division into one of defiance and freedom. Over five years, he painted more than three kilometres of the Wall, influencing fellow artists like Keith Haring and contributing to a movement that ultimately helped erode the Wall’s authority.

Since the Wall’s fall in 1989, Noir has exhibited worldwide, from London to Los Angeles, and his work has appeared in films like Wings of Desire and on the cover of U2’s Achtung Baby. Today, he continues to create murals and limited-edition prints, maintaining that art should remain a playful, rebellious act that challenges authority and spreads colour in the face of oppression.

The Chemist's Daughter 'Achos' Print Available

Artist: Hannah Tometzki/The Chemist's Daughter
Title: Tough Guy
Medium: Gold Leaf Embossed Print
Size: 11.5 x 11.5 cm
Edition: UNSURE
Prices: £26

 

Hannah Tometzki works under the studio name The Chemist’s Daughter, a nod to her upbringing in a family-run pharmacy in rural Wales where shelves of coloured pills and glass beakers first sparked her fascination with hue and form. Today, based in a light-filled studio near Cardiff, she creates abstract paintings that fuse geological observation with emotional memory, producing canvases that feel like stratified sunsets compressed under glass.

Working primarily in acrylic and resin, Tometzki pours, drags and pools layers of translucent pigment, allowing each coat to semi-cure before adding the next. Titanium white is forced through wet ultramarine to create marble-like veins, while powdered copper and bronze settle into fissures that catch gallery spotlights like seams of precious ore. The final high-gloss resin seals the topography, giving the surface the depth and clarity of a polished gemstone viewed under a microscope.

Colour choices are instinctive yet grounded in place: ochres and rusts echo the iron-rich soil of Welsh quarries, acid greens recall copper runoff she saw while hiking abandoned mines, and sudden flashes of rose mirror the Himalayan salt lamps that lined her childhood dispensary. Each piece is titled after geological strata or pharmaceutical compounds, reinforcing the link between earth science and personal healing.

Recent exhibitions at Kooywood Gallery Cardiff and The Workers Gallery Ynyshir have sold out, while commissions have transformed hospital reception areas and private residences into calming portals of colour. Whether working on a metre-wide canvas or a small resin tile, Tometzki seeks the fragile moment when pigment, gravity and memory solidify into a lasting record of transformation, reminding viewers that beauty often emerges where chemistry and emotion collide.