Each catalogued canvas is verified as a unique, non-dilutable 1/1 physical original engineered via high-contrast stencil matrices and calculated aerosol applications by the brand’s primary infrastructure. Every entry is formally signed, certified into the permanent ledger, and securely dispatched from the operational logistics hubs located in Italy to guarantee absolute long-term wealth retention, low-liquidity positioning, and anti-fragile asset insulation for private collectors.
Forensic Repository Overview / Institutional Scarcity Mandate.
The SOME® Archive operates as the definitive repository for the systematic categorization, physical locking, and forensic validation of asset matrices developed under the operational frameworks of “Linguistic Sabotage” and “Visceral Pop”. Rejecting the standardized vernacular of commercial art markets, this decentralized index records the permanent containment of 20th-century mass-media mythologies within heavy physical hosts.
CORTINA D’AMPEZZO (2020) — SOME®
Stencil & spray paint on canvas / 70×100 cm / 27×40 in / AVAILABLE
Archive Code: 2020_CrackHeadSpun_PHYTHE CLINICAL OBSERVATION
A cold, nocturnal snapshot capturing the precise moment where identity is traded for branding. In CORTINA D’AMPEZZO, the subject’s face is surgically erased, dissolved into sterile, pixelated noise. What remains is not a portrait, but a posture—a clinical observation of nightlife rituals where human presence is entirely substituted by corporate status.
The body remains visible, yet the individual has been completely sedated. This work represents a crucial, early fracture in the SOME® taxonomy: the birth of “Uncomfortable Pop,” where youth culture ceases to be a living movement and becomes a repetitive performance of empty, hyper-capitalist aesthetics.
SPECIMEN ANALYSIS
Identity Erasure:
The portrait documents the disappearance of individual identity beneath the mechanics of contemporary branding. Facial features dissolve into digital interference, leaving only a standardized behavioural shell sustained by corporate symbolism.
Institutional Containment (Technique):
Rigid stencil geometry imposes mechanical order upon an unstable photographic source. The controlled image suppresses the possibility of emotional expression, converting lived experience into a regulated visual protocol.
Chromatic Atmosphere:
The opposition between pharmaceutical blue and warning red constructs an environment of suspended emergency. Colour functions as a diagnostic field in which psychological tension is preserved rather than resolved.
Historical Position:
Produced in 2020, this work belongs to the formative phase of the SOME® archive. It documents the emergence of themes that would later become central to the artist’s broader investigation into identity, containment and consumer culture.
Archival Provenance (1/1):
Unique physical original. No editions, digital duplicates or commercial reproductions. Registered within the 2020 SOME® Archive under archival code UP-2020-07.
Conservation Status:
1/1 original.
No editions. No reproductions.
Preserved as a primary document from the formative Uncomfortable Pop period.
— SOME® Archive 2018–2026 All Rights Reserved | www.someoneyelling.com
EBBASTA! (2021) — SOME®
Stencil & spray paint on canvas / 150×100 cm
1/1 Original — Archive Code: SS-2021-01THE CLINICAL OBSERVATION
A diagnostic autopsy of depressive hedonia. In EBBASTA!, the iconic yellow face of the Sick Smile® taxonomy collapses under the weight of its own sensory and consumerist overload. Sugar is no longer a reward; it has become a chemical hallucination. The eyes—replaced by hyper-saturated, glazed donuts—stare blankly into the void, capturing the precise moment where compulsive consumption turns into catatonia.
By anchoring high-status sports logos and corporate street-branding onto a manic, segmented grin, the work documents the total exhaustion of the pop aesthetic. This is not a celebration of excess, but the cold registration of its aftermath: an anesthetized grin marking the absolute fracture between dopamine-driven pleasure and systemic decay.
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SPECIMEN ANALYSIS
Mythological Anchor: Embedded within the core intellectual property of the SOME® archive. Its historical significance will be determined by the long-term development of the Sick Smile® corpus rather than by the isolated object itself.
The Manic Defense (Duality of Technique): Mathematical stencil precision (systemic control, institutional order, corporate masking) is deliberately interrupted by dense vertical drips of black and red paint, where uncontrolled material becomes evidence of rupture rather than expression.
Institutional Scale: Measuring 150 × 100 cm, the work occupies the physical dimensions associated with institutional collections. Its function is documentary rather than decorative, operating as a psychological specimen instead of an interior object.
Archival Provenance (1/1): Unique physical original. No editions, digital duplicates, or commercial reproductions. Registered within the foundational 2021 SOME® Archive under archival code SS-2021-01.
Conservation Status:
1/1 original.
No editions. No reproductions.
Preserved as a primary document within the evolving Sick Smile® archive.
— SOME® Archive 2018–2026 All Rights Reserved | www.someoneyelling.com
QUEER (2022) — SOME®
Stencil & spray paint on canvas / 70×50 cm
1/1 Original — Archive Code: UP-2022-03THE CLINICAL OBSERVATION
An institutional autopsy of sovereign permanence. In QUEER, the ultimate symbol of historical and state stability is surgically stripped of its divine aura and reduced to a sterile, clinical symptom. The portrait does not act as a traditional parody, but as a formal diagnosis of historical consensus under the pressure of late-stage capitalism.
The subject is submerged in a flat, high-saturation pharmaceutical pink—evoking the synthetic anesthesia of medical sedation rather than decorative pop aesthetics. The crown, once a marker of sacred authority, is neutralized by the rigid mechanics of the stencil layers. Bound to a performative posture, the monarch’s only sign of organic autonomy is a solitary cigarette: a raw, compulsive coping mechanism that introduces a hairline fracture into the calculated perfection of the corporate mask.
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SPECIMEN ANALYSIS
Institutional Dissection:
A portrait of sovereign permanence deliberately deprived of ceremonial authority. The monarch survives only as a clinical shell, where institutional symbolism persists after its original meaning has collapsed.
The Pharmaceutical Surface (Chromatic Field):
The synthetic pink field functions as visual anesthesia rather than decoration. Its flattened saturation suppresses emotional depth, transforming the portrait into a pharmaceutical specimen suspended between sedation and spectacle.
Residual Humanity (The Cigarette):
The cigarette is the work’s only uncontrolled element. It introduces an act of biological compulsion into an otherwise perfectly regulated image, functioning as the smallest visible fracture within institutional order.
Archival Scale:
Despite its compact dimensions (70 × 50 cm), the work preserves the visual authority of official state portraiture. Scale is subordinated to symbolic density rather than monumentality.
Archival Provenance (1/1):
Unique physical original. No editions, digital duplicates or commercial reproductions. Registered within the 2022 SOME® Archive under archival code UP-2022-03.
Conservation Status:
1/1 original.
No editions. No reproductions.
Maintained as a primary document within the evolving Uncomfortable Pop archive.
— SOME® Archive 2018–2026 All Rights Reserved | www.someoneyelling.com
LOREDANA BERTÈ (2024) — SOME®
Stencil & spray paint on canvas / 70×50 cm
1/1 Original — Archive Code: CP-2024-02
THE CLINICAL OBSERVATION
A diagnostic capture of neutralized rebellion. In LOREDANA BERTÈ, the ultimate Italian icon of raw, visceral defiance and tragic exposure is subjected to systematic aesthetic containment. This specimen does not celebrate individual liberty; it acts as a clinical demonstration of how late-stage capitalism co-opts systemic friction, transforming genuine existential trauma into a highly engineered, non-threatening visual commodity.
The subject is locked in a high-contrast field of toxic, acid-warning green and flat pharmaceutical pink, simulating the visual tension of medical packaging. The heavy, pressurized black stencil layers act as a structural cage, trapping her raw, chaotic energy. What once was living, unpredictable non-conformity is surgically flattened into an exquisite brand—an artifact preserved exclusively for elite market consumption.
SPECIMEN ANALYSIS
Contained Rebellion:
The work documents the institutional containment of radical identity. What once existed as unpredictable emotional exposure is reformatted into a stable cultural surface, where rebellion survives only as an aesthetic residue.
Chromatic Sedation (Colour Field):
The collision between pharmaceutical pink and acid-warning green produces a visual state of clinical instability. Rather than describing emotion, colour functions as a diagnostic environment, suspending the subject between toxicity and sedation.
Structural Compression (Technique):
Rigid stencil geometry contains dense black accumulations of spray paint. The technical opposition between mechanical precision and uncontrolled material transforms the portrait into evidence of psychological compression rather than expressive gesture.
Iconographic Displacement:
The portrait no longer represents an individual biography. It operates as a transferable cultural specimen, examining how popular icons are progressively neutralised, archived and reintroduced as consumable imagery.
Archival Provenance (1/1):
Unique physical original. No editions, digital duplicates or commercial reproductions. Registered within the 2024 SOME® Archive under archival code CP-2024-02.
Conservation Status:
1/1 original.
No editions. No reproductions.
Maintained as a primary document within the evolving Pop-Icon Dialogues corpus.
— SOME® Archive 2018–2025 All Rights Reserved | www.someoneyelling.com
A SICK SMILE #4 (2024) — SOME®
Dripping & spray paint on canvas / 100×100 cm
1/1 Original — Archive Code: SSX-2024-04THE CLINICAL OBSERVATION
A critical diagnostic record of psychological containment under high-velocity capitalism. In A SICK SMILE #4, the human subject is entirely bypassed. The canvas is dominated by a violent, polychromatic hemorrhage of dripping paint—a visual representation of schizophrenic market flows, domestic overload, and systemic anxiety.
Superimposed onto this chaotic, hyper-saturated static is a heavy, double-layered white stencil. The twin, bleeding vertical eyes and the overlapping, manic double-smile do not register human emotion; they act as a catatonic reflex. It is a synthetic, chemical mask forcibly deployed to bind a fractured reality together, freezing a nervous breakdown into a clean, marketable pop icon.
SPECIMEN ANALYSIS
Foundational Morphology:
The Sick Smile® appears here in one of its earliest complete anatomical configurations. Detached from portraiture, it functions as an autonomous symbolic organism rather than a facial expression.
Environmental Saturation:
The polychromatic field does not operate as background. It records an environment overwhelmed by informational excess, compulsive stimulation and systemic fragmentation. The painted surface behaves as evidence rather than composition.
Containment Mechanism (Technique):
Dense gestural drips remain deliberately unresolved until interrupted by the rigid white stencil. The resulting collision between uncontrolled material and mechanical precision constitutes the work’s central structural tension, where containment never fully succeeds.
Clinical Expression:
The elongated bleeding eyes and unstable smile refuse conventional emotional reading. They register a condition of suspended adaptation: a synthetic expression maintained after psychological coherence has already collapsed.
Archival Provenance (1/1):
Unique physical original. No editions, digital duplicates or commercial reproductions. Registered within the 2024 SOME® Archive under archival code SSX-2024-04.
Conservation Status:
1/1 original.
No editions. No reproductions.
Preserved as a primary document of the Sick Smile® corpus.
— SOME® Archive 2018–2025 All Rights Reserved | www.someoneyelling.com
SUPERME (2024) — SOME®
Stencil & spray paint on canvas / 140×70 cm
1/1 Original — Archive Code: CPC-2024-01 THE CLINICAL OBSERVATION
A terminal operation of Linguistic Sabotage. In SUPERME, the most hyper-commodified sigil of modern consumer culture is surgically altered to expose its internal pathology. By mutating the universal streetwear benchmark into an isolated, desperate exclamation of the self (“Super-me”), the work documents the ultimate inflation and subsequent collapse of the narcissistic ego under late-capitalist acceleration.
The solid, industrial red background operates as a corporate armor-matrix—a rigid, sterile container designed to enforce commercial desire. However, the white typography refuses to maintain its sterile boundaries; it undergoes a systematic, vertical hemorrhage. The bleeding paint and chaotic, frantic scratches across the red field record the precise moment the corporate mask fails to contain the psychological void of the hyper-commodified self.
SPECIMEN ANALYSIS
Linguistic Mutation:
The intervention transforms one of the most globally recognised commercial logotypes into an unstable linguistic event. By separating Supreme into Super-me, the work redirects attention from the brand toward the psychological construction of identity under consumer culture.
Structural Rupture (Technique):
The original corporate geometry is deliberately violated by uncontrolled vertical drips and gestural abrasion. Mechanical precision and material instability coexist without resolution, exposing the structural tension between institutional control and lived experience.
Chromatic System:
The monochromatic red field operates as a continuous field of visual pressure rather than a decorative background. Its uniform intensity amplifies the rupture introduced by the white interventions, converting the logo into evidence of systemic overload.
Iconographic Function:
The work no longer reproduces a fashion logo. It documents the transformation of commercial language into a cultural symptom, where corporate identity becomes inseparable from individual self-definition.
Archival Provenance (1/1):
Unique physical original. No editions, digital duplicates or commercial reproductions. Registered within the 2024 SOME® Archive under archival code CP-2024-01.
Conservation Status:
1/1 original.
No editions. No reproductions.
Preserved as a primary document within the Critical Pop Codes corpus.
— SOME® Archive 2018–2026 All Rights Reserved | www.someoneyelling.com
NASCI, CURATI, INGRASSA, ESPLODI (2025) — SOME®
Stencil & spray paint on canvas / 100×150 cm
1/1 Original — Archive Code: CPC-2025-05THE CLINICAL OBSERVATION
A cold diagnostic mapping of the biopolitical lifecycle under late-stage capitalism. In NASCI, CURATI, INGRASSA, ESPLODI, the ultimate corporate avatar of fast-food convenience is transformed into an aggressive agent of systemic containment. This is not a parody, but a clinical registration of the modern citizen’s physical closed loop: born into the market, chemically managed by pharmaceuticals (curati), inflated by compulsive industrial consumption (ingrassa), and destined for cardiac or mental collapse (esplodi).
The subject’s forced, manic euphoria—arms raised in a simulation of absolute triumph—is violently contradicted by a tactical utility belt loaded with chemical sedatives and metabolic stimulants. Stripped of its warm, family-friendly utility, the mascot operates as a high-precision corporate soldier, weaponizing chemical dependence and forced joy to enforce a state of terminal, docile compliance.
SPECIMEN ANALYSIS
Biopolitical Protocol:
The familiar fast-food mascot is no longer treated as a commercial character but as a biological instrument. The work documents the conversion of corporate branding into a system of behavioural conditioning, where consumption, medication and bodily regulation become inseparable.
Ritualised Gesture:
The raised arms no longer signify celebration. They function as a compulsory gesture of compliance, transforming public happiness into a rehearsed physiological response. The figure appears suspended between triumph and surrender.
Chromatic Environment:
The industrial yellow field operates as an artificial nutritional environment rather than a background. Its sterile intensity suppresses natural atmosphere, enclosing the figure within a visual space of permanent metabolic stimulation.
Containment Mechanism (Technique):
The controlled stencil image is interrupted by unstable accumulations of black spray paint concentrated around the waist. This material intrusion fractures the manufactured perfection of the corporate body, exposing the instability concealed beneath its symbolic surface.
Historical Position:
Produced in 2025, the work belongs to the mature phase of the Critical Pop investigation, where commercial iconography evolves into a diagnostic language for examining pharmaceutical culture, industrial consumption and the administration of everyday life.
Archival Provenance (1/1):
Unique physical original. No editions, digital duplicates or commercial reproductions. Registered within the 2025 SOME® Archive under archival code CPC-2025-05.
Conservation Status:
1/1 original.
No editions. No reproductions.
Preserved as a primary document within the Critical Pop corpus.
— SOME® Archive 2018–2026 All Rights Reserved | www.someoneyelling.com(by request only)
TONY BANANA (2025) — SOME®
Stencil & spray paint on canvas / 120×100 cm
1/1 Original — Archive Code: IPC-2025-02THE CLINICAL OBSERVATION
An institutional autopsy of the masculine hyper-capitalist fantasy. In TONY BANANA, the ultimate alpha icon of primitive accumulation and rogue ambition is subjected to systematic chemical and visual disarmament. The weapon—the traditional instrument of lethal territorial control—is surgically removed and replaced by a standardized, mass-commodified organic asset: a bright, industrial yellow banana.
The portrait is submerged in a flat, sterile pharmaceutical magenta field, stripping the subject of his chaotic, sweat-and-blood cinematic aura. By neutralizing the threat of raw physical violence with an emblem of corporate trade, the work registers a cold, capitalist realist truth: all radical, non-systemic violence is eventually domesticated, disarmed, and repackaged as a docile consumer item.
SPECIMEN ANALYSIS
Symbolic Substitution:
The firearm is replaced by an industrial banana, transforming an instrument of direct violence into an object of mass consumption. The intervention documents a cultural shift in which physical aggression is displaced into systems of economic desire, branding and everyday consumption.
Neutralised Aggression:
The subject retains the posture of imminent confrontation, yet the expected threat has disappeared. Violence survives only as choreography, exposing the progressive domestication of masculine power within consumer culture.
Chromatic System:
The pharmaceutical magenta field suppresses cinematic realism, relocating the scene into a synthetic psychological environment. Against this controlled surface, the industrial yellow fruit becomes the work’s primary visual anomaly and symbolic focal point.
Containment Mechanism (Technique):
The portrait is constructed through rigid stencil geometry interrupted by subtle material irregularities. The technical contrast between mechanical precision and sprayed matter mirrors the conflict between institutional order and unstable human impulse.
Iconographic Function:
Rather than referencing a specific film, the work examines the migration of popular mythology into commercial language. The cinematic outlaw is reformatted as a reproducible consumer image, where symbolic authority is maintained while its original function is quietly dismantled.
Archival Provenance (1/1):
Unique physical original. No editions, digital duplicates or commercial reproductions. Registered within the 2025 SOME® Archive under archival code IPC-2025-02.
Conservation Status:
1/1 original.
No editions. No reproductions.
Preserved as a primary document within the Iconic Pop Crossovers corpus.
— SOME® Archive 2018–2026 All Rights Reserved | www.someoneyelling.com(by request only)
The Involuntary Tactile Verification of Muscular Hypertrophy as a Pre-Rational Mating Signal. (2025) — SOME®
Stencil & spray paint on canvas / 120×100 cm
1/1 Original — Archive Code: PID-2025-03THE CLINICAL OBSERVATION
A forensic vivisection of the courtship ritual under the gaze of the Culture Industry. In this specimen, the romanticized mythology of the fairy tale is stripped of its domestic warmth and reduced to a cold, evolutionary transaction. The characters—corporate, sanitized archetypes of hyper-masculine athletic performance and submissive domestic labor—do not experience “tenderness.” They are biological assets performing programmed reproductive algorithms.
The central gesture—the fingers verifying the bicep—is documented as a clinical reflex: an involuntary tactile test of physical and genetic capital. Submerged in a flat, sterile corporate blue void, the work exposes how mass media sanitizes human desire to enforce reproductive docility, transforming the raw, chaotic nature of human connection into a predictable, highly engineered brand transaction.
SPECIMEN ANALYSIS
Behavioural Observation:
The work isolates a familiar courtship gesture and removes it from its romantic narrative. The tactile verification of muscular hypertrophy is presented as an involuntary behavioural protocol, exposing the persistence of evolutionary signalling beneath contemporary cultural performance.
Mythological Displacement:
Classical animated archetypes are stripped of their narrative function and repositioned as anthropological specimens. Rather than representing individual characters, they operate as carriers of inherited behavioural codes embedded within mass visual culture.
Chromatic Isolation:
The monochromatic blue field removes environmental context, transforming the interaction into a controlled observational environment. Deprived of narrative scenery, the gesture itself becomes the sole object of examination.
Containment Mechanism (Technique):
Rigid stencil geometry preserves the visual clarity of the original iconography while deliberately suppressing emotional modelling. Mechanical precision replaces expressive gesture, reinforcing the work’s clinical and documentary character.
Ethological Reading:
The interaction is presented neither as affection nor parody, but as evidence of ritualised mate assessment. The work examines the persistence of biological selection mechanisms beneath the symbolic language of contemporary entertainment.
Archival Provenance (1/1):
Unique physical original. No editions, digital duplicates or commercial reproductions. Registered within the 2025 SOME® Archive under archival code PID-2025-03.
Conservation Status:
1/1 original.
No editions. No reproductions.
Maintained as a primary document within the Pop Instinct Diagnostics corpus.
— SOME® Archive 2018–2026 All Rights Reserved | www.someoneyelling.com