A SICK SMILE (2018) — SOME®

Acrylic dripping on canvas / 100×100 cm

STATUS: SOLD — Private Collection (Italy)
Archive Code: SS-2018-01

A seminal work marking the birth of the Sick Smile symbol —
the first appearance of the fractured grin that would later evolve
into SOME®’s signature icon.

Created during the Self-Transcendence phase (2018–2019),
this canvas bridges chemical texture, graffiti roots and early “uncomfortable pop”, capturing the transition from raw rebellion to symbolic mythology.

—
ARCHIVE NOTES

• First recorded Sick Smile canvas in the SOME® Archive
• 1/1 original — no editions, no prints, no reproductions
• Considered a foundation piece for all later Sick Smile Series works
• Exhibited and acquired before the launch of the Critical Pop era (2021→)

This work is permanently archived and not available for acquisition.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

A SICK GIRL (2018) — SOME®

Stencil & spray paint on canvas / 70×50 cm
STATUS: SOLD — Private Collection (Australia)
Archive Code: SS-2018-02

The female counterpart to A SICK SMILE, this work marks the second appearance of the fractured emotion that would later evolve into SOME®’s Sick Smile mythology. If A SICK SMILE dissolves into chemical rain, A SICK GIRL burns under neon light:
two portraits, one disillusion.

Created during the Self-Transcendence phase (2018–2019), this canvas bridges portraiture, shock and post-graffiti pop — a study of disillusion before the symbolic abstraction of the later Sick Smile Series.

—
ARCHIVE NOTES

• Second documented canvas in the Sick Smile proto-archive
• Forms an early diptych with A SICK SMILE (2018)
• 1/1 original — no editions, no prints, no reproductions
• Considered a transitional work between raw portraiture and symbolic iconography
• Acquired prior to the official Sick Smile Series launch (2020→)

This work is permanently archived and not available for acquisition.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

RIOT (2018) — SOME®

Stencil & spray paint on canvas / 70×100 cm
STATUS: PRIVATE COMMISSION (Not for public acquisition)
Archive Code: COM-2018-01

Created as a commissioned work, RIOT merges the client’s chosen imagery with SOME®’s early visual language: the dripping “LET US LIVE” slogan and the ironic Instagram-heart hovering over urban unrest.

This canvas marks one of the first documented private commissions in the SOME® Archive, showing how the artist’s practice adapted to context while preserving sarcasm, street-born iconography and social critique.

—
ARCHIVE NOTES

• First recorded commissioned canvas in the archive (2018)
• 1/1 original — produced exclusively for the collector
• Not part of the Sick Smile or Critical Pop cycles
• Demonstrates early collaboration between client input and artist intervention
• Not available for acquisition and will not be reproduced

Registered in the SOME® Archive 2018–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

MEDICINE (2019) — SOME®

Stencil & spray paint on canvas / 150×100 cm
STATUS: SOLD — Private Collection
Archive Code: UP-2019-01

A landmark work in the evolution of SOME®’s “Uncomfortable Pop”,
MEDICINE turns the iconic Supreme logo into a pill-shaped trigger of
modern dependency — where luxury branding collides with the psychology of pharmaceutical escape.

Rendered in toxic candy colors, the figure becomes both model and patient: a portrait of a generation medicated by status, self-image, and synthetic calm.

—
ARCHIVE NOTES

• First appearance of the “brand-as-pill” concept in SOME®’s practice
• Large-format canvas acquired by private collector in 2021
• Foundational piece in the Uncomfortable Pop cycle
• Bridges street iconography with psychological critique
• 1/1 original — no prints or reproductions will be issued

Registered in the SOME® Archive 2019–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

CARA DELEVINGNE (2019) — SOME®

Stencil & spray paint on canvas / 120×100 cm
STATUS: SOLD — Private Collection
Archive Code: CP-2019-02

A pop-icon portrait stripped of glamour until only voltage remains.
CARA DELEVINGNE becomes both billboard and wound — a face caught between fashion mythology and raw emotional exposure.

Her electric eyes and acid contrasts mark a turning point in SOME®’s practice: celebrity no longer as idol, but as mask — a fragile surface charged with overexposure, beauty, and collapse.

—
ARCHIVE NOTES

• Second major portrait in the Celebrity Phase (after A Sick Girl)
• Precursor to the social-critique cycle “Uncomfortable Pop”
• First use of high-contrast neon palette on a female icon
• Bridge between fashion imagery and psychological rupture
• 1/1 original — no reproductions exist

Registered in the SOME® Archive 2019–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

MICKEY’S (2019) — SOME®

Stencil & spray paint on canvas / 150×100 cm
STATUS: SOLD — Private Collection
Archive Code: MK-2019-01

A cult work in the evolution of SOME®’s “Post-Graffiti Pop”:
MICKEY’S turns the cartoon icon into a vessel of ownership, addiction and luxury branding — the apostrophe becomes a grammar of possession, where taste can be bought and innocence collapses into status.

Rendered in toxic gloss yellow and designer logos, the figure becomes both mascot and cautionary mirror: a street saint dressed in Gucci and Balenciaga, worshipped like a product, emptied like a person.

ARCHIVE NOTES

• First appearance of the “apostrophe-as-ownership” concept in SOME®’s work
• Early exploration of luxury-branded cartoon figures (precursor to the later SICK SMILE mutations)
• Bridges pop culture iconography with critique of consumer faith + street addiction
• Large-format 1/1 original — no prints or reproductions issued
• Acquired by private collector in 2020

Registered in the SOME® Archive 2019–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

LIL BART (2019) — SOME®

Stencil & spray paint on canvas / 150×100 cm
STATUS: SOLD — Private Collection
Archive Code: LB-2019-01

A pivotal work in the shift from post-graffiti irony to addiction pop mythology.
LIL BART freezes the cartoon rebel at the moment of collapse — the wide eyes, the tattoo LOVE ME FOREVER, and the cracked grin turn a global icon of youth culture into a portrait of excess, self-damage, and arrested adolescence.

The innocence of yellow becomes a warning sign: when pop characters absorb the same compulsions as their audience, the myth of eternal youth rots from the inside.

ARCHIVE NOTES

• First appearance of tattoo-language as psychological mark in SOME®’s work
• Bridges early street-culture satire with the later “Uncomfortable Pop” cycle
• Iconic use of LOVEMEFOREVER text — recurring motif in 2020–2024 works
• 1/1 original — no editions, reproductions, or variants issued
• Acquired by private collector in 2022

Registered in the SOME® Archive 2019–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

MOSCHINO (2019) — SOME®

Stencil & spray paint on canvas / 150×100 cm
STATUS: SOLD — Private Collection
Archive Code: MO-2019-01

A suspended portrait of fashion’s alienation.
MOSCHINO turns the logo into a mask — glamour as shield, silence as identity.
The fly covering the face becomes a metaphor for beauty contaminated: elegance as infestation, luxury as decay.

Rendered in frozen neon tones, the figure stands outside of time: a mannequin that still breathes, an icon emptied of voice, staring back with absence.

ARCHIVE NOTES

• First appearance of the “fly-mask” motif later reused in 2020–2022 works
• Bridges early fashion-iconography with psychological rupture
• One of the few 2019 canvases merging pop aesthetics with poetic text
• 1/1 original — no prints or variants ever released
• Acquired by private collector in 2022

Poetic fragment (EN)

“If you smile and then fall silent
Before saying your name,
I’m an alien who doesn’t know time,
And I stand still with the world
Just to watch you.”

Frammento poetico (ITA)

“Se sorridi e poi taci
prima che dici il tuo nome
Sono un alieno che non conosce il tempo
E sono fermo insieme al mondo
Ad osservarti”

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

AIR FORCE 1 (2019) — SOME®

Stencil & spray paint on canvas / 100×80 cm
STATUS: SOLD — Private Collection
Archive Code: AF-2019-01

A work that turns the sneaker icon into a relic of the street hustle — not fashion, but survival. AIR FORCE 1 becomes the dealer’s uniform: scuffed, trusted, always in motion, a currency of credibility where the sole is proof of lived reality, not branding.
Here, the shoe is no longer a product of style but the footprint of an economy built on risk, dirt, and repetition — a monument to those who work the pavement instead of the screen.

Rendered in blurred strokes, the pair looks abandoned yet charged, like objects waiting for the next run: shoes that have walked debts, shortcuts, and back-alley exchanges.
What luxury sells as nostalgia, the street wears as exhaustion — a myth of urban relics where prestige is earned only through erosion.

ARCHIVE NOTES

• First appearance of sneaker-as-relic concept in SOME®’s practice
• Bridges post-graffiti poetics with hustle iconography of the street
• Early example of “used object ≠ luxury object” inversion
• Large-format 1/1 original — no prints or reproductions issued
• Precursor to later “dealer archetype” works in 2020–2023

Acquired by private collector in 2021
Registered in the SOME® Archive 2018–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

UNTRAPPED (2019) — SOME®

Stencil & spray paint on canvas / 100×100 cm
STATUS: SOLD — Private Collection
Archive Code: UP-2019-03

A pivotal canvas in the evolution of SOME®’s “Uncomfortable Pop”: UNTRAPPED stages a pop icon inside a pharmaceutical loop — four distorted frames, one repeated reflex. It’s not parody but indictment: the image regurgitates pills as if the body were synchronized to a dosage protocol.

Here, banality becomes a reliquary of medicalized culture. Subjectivity is flattened into statistical compliance; the character is processed, not portrayed. The bright palette functions like hospital light — clean, neutral, and quietly violent.

The result is a contemporary icon where pop language collides with pharmacological critique: entertainment turns clinical, and the loop replaces choice.

ARCHIVE NOTES

• Cornerstone in the Uncomfortable Pop language (2019)
• Transforms cartoon banality into a reliquary of medicalized society
• Four-frame loop structure as metaphor of dosage/control
• Bridges pop-culture imagery with pharmaceutical and statistical critique
• 1/1 original — no prints or reproductions issued
• Acquired by a private collector in 2020

Registered in the SOME® Archive 2019–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

IVRE SAUVAGE (2019) — SOME

Stencil & spray paint on canvas / 150×100 cm
STATUS: SOLD — Private Collection
Archive Code: UP-2019-04

A rare commissioned canvas that bends vintage French poster language into a pop indictment of indulgence.
IVRE SAUVAGE replaces the Belle Époque romance of absinthe and café culture with a staged fiction: elegance becomes intoxication, taste becomes ritual, and the social theatre of drinking is exposed as performance.

Here, the gentleman in top-hat and the woman with her glass are not characters but relics of consumption—figures suspended between nostalgia and excess.
The lacquered palette mimics product advertising, while the stencil fracture reveals the artificiality of pleasure, turning Belle Époque decorum into an early rupture of SOME®’s Uncomfortable Pop vocabulary.

ARCHIVE NOTES

• Early deviation linking vintage poster iconography to the future Uncomfortable Pop cycle

• Site-specific commission for a private wine collection—merging décor and critical narrative
• First use of alcoholic imagery as metaphor for addiction-as-elegance

1/1 original — no prints or reproductions issued
Registered in the SOME® Archive 2019–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

SCROOGE MC DUCKIN’ (2019) — SOME®

Stencil & spray paint on canvas / 100×100 cm
STATUS: SOLD — Private Collection
Archive Code: UP-2019-05

A core work in the evolution of SOME®’s “Uncomfortable Pop”: SCROOGE MC DUCKIN’ turns Donald Duck into a counterfeit version of Scrooge McDuck — a cartoon icon rehearsing wealth without owning it.
The slang term “McDuckin’” means flexing like you’re rich with money that isn’t yours: luxury as costume, status as performance.

Here, the fantasy of abundance replaces the reality of debt. The branded beret (a spoof of the Supreme x Vuitton myth) becomes a childlike halo for a generation raised on logos instead of assets — where aspiration is scripted by brands, and value is borrowed, not earned.

The result is a portrait of pop psychology under capitalism: a mascot of clout-chasing, caught between infantilization, desire, and financial emptiness.

—

ARCHIVE NOTES

• Core piece in the “Uncomfortable Pop” cycle (brand delusion as psychological mark)
• Early exploration of counterfeit luxury as a cultural symptom rather than parody
• Bridges cartoon innocence with the economics of debt-driven aspiration
• First use of branded iconography as identity prosthesis instead of status symbol
• 1/1 original — no editions, reproductions, or variants issued
• Acquired by private collector in 2019

Registered in the SOME® Archive 2019–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

VOGUE – A MODERN ROMANCE (2019) — SOME®

Stencil & spray paint on canvas / 120×100 cm
STATUS: SOLD — Private Collection
Archive Code: FM-2019-01

A pivotal early work in SOME®’s archive, marking the moment when fashion-magazine imagery is hijacked and rerouted into street iconography.
Here, VOGUE is no longer a cover — it becomes an arena. The polished elegance of editorial beauty clashes with the raw immediacy of stencil and spray paint, turning the “romance” of luxury culture into a tension between desire, disruption, and surface control.

A MODERN ROMANCE frames beauty as both ideal and fracture: a mask of perfection held together by the grain of the street.
Not a celebration of fashion, but the first incision — the opening cut that will lead toward the later critique of image, branding, and post-celebrity collapse in SOME®’s “Uncomfortable Pop” phase.

ARCHIVE NOTES

• First appearance of fashion-magazine appropriation in SOME®’s practice
• Bridges pop-culture aesthetics with early street-critique language
• Precursor to later works on beauty, commodity desire, and media iconography
• 1/1 original — no prints or reproductions issued
• Acquired by private collector in 2021

Registered in the SOME® Archive 2019–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

PORN HUB (2019) — SOME®

Marker & spray paint on canvas / 120×100 cm
STATUS: SOLD — Private Collection
Archive Code: DP-2019-01

A pivotal work where street immediacy collides with digital saturation.
PORN HUB transposes the frenzied energy of post-graffiti gesture into the hyper-visibility of platform culture.
The tangled white silhouettes — echoing Haring’s choreography of contact — become symptoms of mass desire, rendered as algorithmic rhythm.

Here, countercultural symbols are no longer subversive; they circulate like currency, feeding the loop of visibility, consumption, and exhaustion.
The title marks the turning point from subculture as resistance to subculture as product, exposing the moment when bodies, icons, and rebellion itself are monetized as infinite scroll.

—

ARCHIVE NOTES

• Key transition from post-graffiti expression to media-critique language
• Early exploration of algorithmic desire and digital repetition
• Bridges Haring-inspired figuration with critique of networked eroticism
• Conceptually connected to later works in the “Uncomfortable Pop” cycle
• 1/1 original — no prints or reproductions issued
• Acquired by private collector in 2019

Registered in the SOME® Archive 2019–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

MC FLY (2019) — SOME®

Stencil & spray paint on canvas / 120×100 cm / SOLD
Archive Code: UP-2019-05

A fighter jet branded with McDonald’s golden arches becomes a weaponized icon of “Uncomfortable Pop”: where fast food and warfare run on the same engine of speed, profit, and mass consumption.

The joke lands first — the bright yellow arches and baby-blue sky feel harmless — but the meaning corrodes underneath: violence made digestible, militarism wrapped in corporate familiarity, a war machine disguised as a Happy Meal.

By fusing the language of branding with military hardware, MC FLY reveals the grotesque symmetry between how we sell hunger and how we sell conflict:
fast, repeatable, numbing.

—
ARCHIVE NOTES

• Core canvas in SOME®’s “Uncomfortable Pop” cycle (2019)
• First appearance of fast-food branding merged with military iconography
• Early exploration of corporate violence disguised as childhood nostalgia
• Bridges consumer-culture critique with political subtext (precursor to later “status weapon” works)
• 1/1 original — no prints or reproductions issued
• Acquired by private collector in 2019

Registered in the SOME® Archive 2019–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

SWEET DREAMS ARE MADE OF PILLS (2019) — SOME®

Stencil & spray paint on canvas / 100×100 cm / SOLD
Archive Code: UP-2019-06

In Sweet Dreams Are Made of Pills, Mickey Mouse—global emblem of innocence and childhood—sweats ecstasy tablets, turning sugar-pop fantasy into a grotesque icon of mass intoxication.
The canvas exposes the drift from childhood dreams to chemical euphoria, where the sweetness of cartoon memory dissolves into the synthetic pulse of rave and drug culture.

Here, desire is no longer soft—it’s pharmaceutical. The character doesn’t smile: it leaks, melts, and overdoses into adult excess. Pop becomes toxic, and nostalgia turns clinical.

ARCHIVE NOTES

• Registered in the SOME® Archive 2019–2025
• Core canvas in SOME®’s Uncomfortable Pop cycle (2019)
• First appearance of “chemical meltdown” motif applied to global cartoon icons
• Bridges rave / nightlife drug culture with childhood brand mythology
• Early example of sweetness-turned-to-substance theme (later used in Medicine, Lil Bart, etc.)
• 1/1 original — no prints, reproductions, or variants issued
• Acquired by private collector in 2020

Registered in the SOME® Archive 2019–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

FASHION WEEK (2020) — SOME®

Stencil & spray paint on canvas / 24×30 cm / SOLD
Archive Code: UP-2020-01

Tintin, swallowed by an oversized coat, rushes forward as if late to his own Fashion Week—an icon of adventure repurposed into a symbol of anxious speed. The image freezes a culture where running is mandatory, where relevance expires instantly, and where identity is traded for the performance of movement.

Here, the coat becomes a shell of status rather than protection: a playful portrait of a society always in motion, even when there’s nowhere left to go.

ARCHIVE NOTES

• Marks the first use of European comic iconography in SOME®’s practice
• Early exploration of run-culture anxiety and accelerationism
• Satirical inversion of high-fashion imagery through lo-fi stencil language
• Precursor to later “empty identity” works (2021–2024)
• 1/1 original — no reproductions issued
• Acquired by private collector in 2022

Registered in the SOME® Archive 2018–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

CORTO MALTESE (2020) — SOME®

Stencil & spray paint on canvas / 150×100 cm / 60×40 in / SOLD (Private Commission)
Archive Code: UP-2020-02

Commissioned by a private collector and lifelong fan of Hugo Pratt’s Corto Maltese, this work reframes the sailor’s literary iconography through the raw language of stencil—where nostalgia fractures into contemporary street narrative.

The portrait keeps its romantic silence, but the surface breaks: the sailor becomes a myth rewritten in urban pigment, suspended between adventure lore and modern visual noise.
Neither homage nor parody—it is a rupture where classic storytelling meets concrete wall.

ARCHIVE NOTES

• Early example of literary-icon appropriation in SOME®’s practice
• Bridges classic European comics with street-borne stencil fracture
• Pre-Uncomfortable Pop narrative work (produced before 2021 shift)
• 1/1 original — no reproductions issued
• Acquired by private collector in 2020

Registered in the SOME® Archive 2020–2025.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

DARK POLO GANG (2020) — SOME®

Stencil & spray paint on canvas / 150×100 cm / 60×40 in / SOLD
Archive Code: UP-2020-03

DARK POLO GANG appears as a pop emblem of Italian youth culture—where street myth, music branding, and luxury status collapse into a single visual currency.
Not a portrait of a band, but a portrait of an economy: hype, wealth-signaling, and aspirational chaos rendered in spray and neon color.

ARCHIVE NOTES

• Core canvas in SOME®’s “Uncomfortable Pop” cycle (2020)
• Early fusion of street-rap iconography with luxury brand language
• Breaks the boundary between youth subculture and aspirational status aesthetics
• First use of Italian trap imagery as collectible pop symbol in SOME®’s archive

1/1 original — SOLD to private collector in 2023 — no reproductions issued

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

CORTINA D’AMPEZZO (2020) — SOME®

Stencil & spray paint on canvas / 70×100 cm / 27×40 in / AVAILABLE
Archive Code: UP-2020-07

A nocturnal snapshot where anonymity replaces identity: the face dissolves into pixels, leaving only gesture, brand, and atmosphere. CORTINA D’AMPEZZO captures the cold precision of nightlife rituals, where presence becomes posture.

Here, the body is visible but the person is gone—an early fracture in SOME®’s Uncomfortable Pop, where youth culture becomes a silhouette performing status instead of embodying it.

ARCHIVE NOTES

• Early Uncomfortable Pop — identity dissolution through gesture
• First use of pixel-obscured identity in SOME®’s archive
• Precursor to later “empty identity” works (2021–2024)
• Examines nightlife ritual as performance instead of self
• 1/1 original — no reproductions issued
• Available for acquisition via private request form

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

CALMNESS (2020) — SOME®

Stencil & spray paint on canvas / 30×24 cm / 11×9 in / SOLD
Archive Code: UP-2020-08

CALMNESS distills serenity into a single silhouette. A moment where identity withdraws and only posture remains—quiet, composed, untouchable.
The work isolates a figure from narrative, removing noise, context and personality, leaving only attitude as presence.

ARCHIVE NOTES

• Silent Icons — Pre-Uncomfortable Pop minimal portrait series
• Early study of stillness as resistance rather than submission
• Bridges fashion-portrait language with street minimalism
• 1/1 original — no prints, reproductions, or variants issued
• Acquired by private collector in 2021

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

SOON! TO THE BAT CAVE (2020) — SOME®

Stencil & spray paint on canvas / 120×100 cm / 47×40 in / SOLD
Archive Code: UP-2020-09

The eternal duality between Batman and the Joker collapses into a kiss.
In this reversal, power and irony dissolve into affection — a subversion of hero-villain mythology where pop culture’s icons no longer oppose but merge, losing narrative to intimacy.

ARCHIVE NOTES

• Core Uncomfortable Pop — myth inversion & icon collapse (2020)
• First appearance of comic-book intimacy theme in SOME®’s archive
• Explores fusion of conflict and affection within pop hero archetypes
• Early use of red–blue contrast to represent moral distortion
• 1/1 original — SOLD to private collector in 2020 — no reproductions issued

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

POPEYE E LA NEGAZIONE DEL PIACERE (PER LA SALVEZZA) (2020) — SOME®

Acrylic on canvas / 80×100 cm / 31.5×39.37 in / SOLD
Archive Code: UP-2020-10

A satirical reinterpretation of Popeye, this work explores the tension between desire and denial, pleasure and sacrifice.
Popeye’s clenched posture becomes a symbol of restraint — the hero turned ascetic, where physical strength replaces emotional release.
It marks an early stage in SOME®’s critical-pop language, before the full emergence of Uncomfortable Pop.

ARCHIVE NOTES

• Early Critical Pop — repression, discipline, and desire as iconography
• Transitional work leading to the Uncomfortable Pop cycle (2019–2021)
• First exploration of cartoon hero as moral archetype
• 1/1 original — SOLD to private collector in 2020 — no reproductions issued

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

KISS ME (2020) — SOME®

Acrylic on canvas / 70×50 cm / 27.5×19.6 in / SOLD
Archive Code: UP-2020-11

A playful yet subversive scene where Ariel and Jasmine, two of Disney’s most recognizable princesses, meet in an unexpected kiss.
Here, the myth of innocence is rewritten through affection, turning the coded purity of mainstream fantasy into a mirror of desire and equality.
An emblematic work from SOME®’s Critical Pop cycle, reimagining pop archetypes as vessels of cultural rebellion.

ARCHIVE NOTES

• Core canvas in SOME®’s Critical Pop cycle (2020)
• Reinterprets Disney archetypes through affection and liberation
• Early study of “myth reversal” preceding Uncomfortable Pop works (2021–2023)
• 1/1 original — SOLD to private collector in 2020 — no reproductions issued

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

A SICK SMILE (TRUE COLORS) (2021) — SOME®
Dripping on canvas | 100×100 cm | 39.37×39.37 in

ENG:
The second chapter in the artist’s Sick Smile series, “True Colors” amplifies the dripping icon with explosive chromatic energy.

Collector’s Note:

The second Sick Smile ever created, a milestone piece marking the evolution of the series into its iconic form.

ITA:
Secondo capitolo della serie Sick Smile dell’artista, “True Colors” amplifica l’icona colante attraverso un’esplosione cromatica.

Nota per i Collezionisti:

Il secondo Sick Smile mai realizzato, un’opera pietra miliare che segna l’evoluzione della serie verso la sua forma iconica.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

RONALD’S CAT (2021) — SOME©
Stencil & spray paint on canvas | 120×100 cm / 47×40 in | SOLD

ENG:
RONALD’S CAT stages a surreal encounter: Catwoman and Ronald McDonald, icons from two worlds colliding in an embrace.

Collector’s Note:

A pop collision where irony becomes critique, exposing how symbols of rebellion and consumption feed on each other.

ITA:
RONALD’S CAT mette in scena un incontro surreale: Catwoman e Ronald McDonald, icone di due mondi che si scontrano in un abbraccio.

Nota per i Collezionisti:

Una collisione pop in cui l’ironia diventa critica, rivelando come simboli di ribellione e consumo si nutrano a vicenda.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

COCA-SOLDI (2021) — SOME©
Stencil & spray paint on canvas | 70×140 cm / 27×55 in | SOLD

ENG:

Poem (English translation):
I practice snowy tracks of light
Through smoking paths I wander
A good take,
To be consumed in the moonlight
The contact calls, so it goes, forward!
My plug is just,
For all voices of justice
To confuse me is its flavor
But you give me light
It is a returning advantage
May it not end
And if anxiety grows, we start again
Here lies our fate.

Collector’s Note:

An unmistakable symbol of pop culture fractured into poetry, where the logo of desire drips into the language of dependence.

ITA:

Poesia (originale):
Pratico piste innevate di luce
Tra le rupi fumanti l’aspro percorso
Prendila buona
Da consumarsi al chiaro di luna
Il contatto chiama e così sia, avanti!
Il mio contatto è un giusto
Per tutti vuol giustizia
A confondermi è il suo sapore
Ma tu mi rendi luce
Ed è un vantaggio che ritorna
E che tu non finisca
L’ansia si fa grande e ricominci
Ecco la nostra sorte.

Nota per i Collezionisti:

Un simbolo inconfondibile della cultura pop, fratturato nella poesia: il logo del desiderio si scioglie in linguaggio di dipendenza.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

A TRAP RAT (2021) — SOME©
Stencil & spray paint on canvas | 60×40 cm / 23.5×15.5 in | SOLD

ENG:
A TRAP RAT plays with the double meaning of “trap”: the rat caught in a mousetrap and the rat as a trapper.

Poem (English translation):
It is already a feast if you move it
And then to dance at night
As the sun goes down
She prepares to adorn
And brings in her hand
Her bundle of grass
Tomorrow, another day of feast.

Collector’s Note:

Wordplay meets stencil: a rat between trap and Trap, a creature stuck between ridicule and celebration.

ITA:
A TRAP RAT gioca sul doppio senso di “trap”: il topo nella trappola e il topo trapper.

Poesia (originale):
È già festa se lo muovi
E poi a danzar la sera
in sul calar del sole
ornare ella si appresta
e reca in mano
col suo fascio dell’erba
dimani, al dì di festa.

Nota per i Collezionisti:

Un gioco di parole che si fa pittura: topo trappola o topo trapper? La risposta resta sospesa, a metà tra scherno e mito.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

PORN HUB (2021) — SOME®
Stencil , grog & spray on canvas | 80×100 cm | 2/2 | SOLD

ENG:
PORN HUB turns a global pop symbol into raw provocation, colliding desire, shame, and digital subculture.

Collector’s Note:

One of two unique canvases created in 2021 and both sold to different collectors. PORN HUB crystallizes the tension between mass culture and taboo, standing as a critical pop relic of its time.

ITA:
PORN HUB trasforma un simbolo pop globale in provocazione cruda, facendo collidere desiderio, vergogna e sottocultura digitale.

Nota per i Collezionisti:

Una delle due tele uniche realizzate nel 2021 e vendute a collezionisti diversi. PORN HUB cristallizza la tensione tra cultura di massa e tabù, diventando un reperto di critical pop del suo tempo.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

SMASCELLO MA NON MOLLO (2021) — SOME®
Acrylic on canvas | 80×100 cm | 31.5×39.37 in

ENG:
In “Smascello ma non mollo,” Donald Duck becomes the unlikely face of nightlife excess and resilience.

Collector’s Note:

A striking satire on consumer culture and altered states, this canvas stands out as a pivotal work in the artist’s Critical Pop phase.

ITA:
In “Smascello ma non mollo,” Paperino diventa il volto improbabile degli eccessi notturni e della resilienza.

Nota per i Collezionisti:

Una satira tagliente sulla cultura dei consumi e sugli stati alterati, questa tela si distingue come opera cardine del periodo Critical Pop dell’artista.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

EBBASTA! (2021) — SOME®

Stencil & spray paint on canvas / 150×100 cm
1/1 Original — Archive Code: SS-2021-01

Not publicly available. Collector access required.

A yellow smile dissolves under excess: sugar becomes hallucination,
vice becomes identity, addiction becomes pop.
The cracked grin marks the fracture between pleasure and decay.

–––

WHY COLLECT THIS WORK
This piece belongs to the early Sick Smile cycle (2020–2023), one of the
defining bodies of work in the SOME® Critical Pop archive.
Most works from this cycle are now held in private collections, making this
one of the last available originals.

Registered in the SOME® Archive 2018–2025, this canvas marks the transition
from studio experimentation to institutional recognition, before the brand’s
international expansion phase.

1/1 — no editions, no reproductions.
Long-term value tied to the evolution of the Sick Smile mythology.

— SOME® Archive 2018–2025 All Rights Reserved | www.someoneyelling.com

QUEER (2022) — SOME®

Stencil & spray paint on canvas / 70×50 cm
1/1 Original — Archive Code: UP-2022-03

Not publicly available. Collector access required.

A royal icon becomes subversive: irony and rebellion dethrone the sacred.
Power turns to parody; elegance becomes provocation.
A pink rebellion that questions beauty, gender and authority.

–––

WHY COLLECT THIS WORK
This work is part of the Uncomfortable Pop cycle (2021–2024), a key body of work
in the SOME® Critical Pop archive, where cultural icons are dismantled and re-coded.

Most pieces from this cycle entered private collections between 2022 and 2024, making
this canvas one of the last remaining originals from the series.

Registered in the SOME® Archive 2018–2025, it marks the shift from figurative pop
reinterpretation to iconoclastic critique — a pivotal phase before the brand’s
international expansion.

1/1 — no editions, no reproductions.
Long-term value tied to the evolution of the Uncomfortable Pop series.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

A SICK GIRL (2022) — SOME®
Stencil & spray paint on canvas | 30×40 cm | 12×16 in | SOLD

ENG:
A Sick Girl captures fragility and rebellion in one fractured image.

Collector’s Note:

An emblematic work where intimacy and rebellion merge, foreshadowing the themes later developed in the Uncomfortable Pop cycle.

ITA:
A Sick Girl racchiude fragilità e ribellione in un’unica immagine fratturata.

Nota per i Collezionisti:

Un’opera emblematica in cui intimità e ribellione si fondono, anticipando i temi che saranno sviluppati nel ciclo Uncomfortable Pop.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

THREESOME (2022) — SOME®
Mixed media on diagnosis print (canvas) | 50×70 cm | 19.7×27.6 in

ENG:
Threesome stages a fractured trio of identities over a printed medical diagnosis, where personal history collides with pop imagery.

Collector’s Note:

A key mixed-media piece in the Uncomfortable Pop cycle, where personal documents merge with irreverent pop iconography.

ITA:
Threesome mette in scena un trio frammentato di identità su una diagnosi medica stampata, dove la storia personale si scontra con l’immaginario pop.

Nota per i Collezionisti:

Un’opera mista fondamentale del ciclo Uncomfortable Pop, in cui documenti personali si fondono con un’iconografia pop irriverente.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

SHE (2023) — SOME®

Stencil & spray paint on canvas / 150×100 cm / 60×40 in / Commission
Archive Code: UP-2023-04

Originally conceived from a collector’s idea of a “bleeding Madonna” framed in the style of Obey Giant,
SHE evolves into a layered reinterpretation where pop devotion meets cinematic collapse.
The face—borrowed from Mia Wallace in Pulp Fiction’s overdose scene—turns sacred ecstasy into narcotic suffering.
Here, the holy image is not blasphemed but exhausted, replayed until transcendence and trauma become indistinguishable.

ARCHIVE NOTES

1/1 original — commissioned by private collector, no reproductions issued

• One-off commissioned canvas (2023)
• Integrates client’s concept with SOME®’s critical-pop vocabulary
• Merges religious iconography with pulp cinema and addiction imagery
• Explores the exhaustion of sanctity through repetition and spectacle

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

SPIDER MELT (2024) — SOME®

Stencil & spray paint on canvas / 150×100 cm / 60×40 in / SOLD
Archive Code: UP-2024-02

Spider Melt intertwines urban chaos with human fragility, suspending a pop icon in a surreal and overloaded scene.
Spiderman no longer saves — he clings. Between nightlife decay and emotional noise, the superhero dissolves into sound, tension, and vulnerability.
Here, pop becomes feverish: a reflection of burnout culture where even strength melts under the weight of exposure.

ARCHIVE NOTES

• Core canvas in SOME®’s Uncomfortable Pop cycle (2024)
• Examines collapse of heroism and exhaustion within pop mythology
• First appearance of “meltdown” motif later used in A Sick Smile Series
• Bridges existential unease with nightlife and sound-system iconography
• 1/1 original — SOLD to private collector in 2024 — no reproductions issued

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

LOREDANA BERTÈ (2024) — SOME®

Stencil & spray paint on canvas / 70×50 cm
1/1 Original — Archive Code: PID-2024-02

Not publicly available. Collector access required.

A vivid icon of rebellion and authenticity.
Her gaze turns defiance into beauty — fragility into power.
A pop hymn to individuality and self-expression.

–––

WHY COLLECT THIS WORK
This canvas is part of SOME®’s Pop-Icon Dialogues cycle (2023–2025), where
figures from music and mass culture are re-coded into critical symbols of
identity, resistance and authorship.

Most works from this cycle entered private collections during 2023–2024,
making this one of the very few remaining originals.

Registered in the SOME® Archive 2018–2025, it marks the transition toward
a wider cultural dialogue between pop memory, gender identity and icon
deconstruction — a key phase preceding institutional and international expansion.

1/1 — no editions, no reproductions.
Long-term value tied to the evolution of the Pop-Icon Dialogues series.

— 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  

Not publicly available. Collector access required.

Superme deconstructs one of the most iconic streetwear logos, turning it into
a bleeding emblem of consumer identity — an ironic reflection on desire,
fashion, and the commodification of rebellion.

–––

WHY COLLECT THIS WORK
This canvas is part of the Critical Pop Codes cycle (2023–2025), in which
symbols of mass culture are dismantled and re-coded as artifacts of consumer myth.

Most works from this cycle entered private collections during 2023–2024,
making this one of the final originals still available.

Registered in the SOME® Archive 2018–2025, it marks the shift from subcultural
reference to global critique — a key moment before the international expansion
of the brand and the institutional phase of the archive.

1/1 — no editions, no reproductions.
Long-term value tied to the evolution of the Critical Pop Codes series and the
cultural weight of the logo intervention.

— 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-2024-04

Not publicly available. Collector access required.

A fractured smile becomes a mirror of human emotion.
Colors drip between joy and melancholy — every splash a fragment of identity.

–––

WHY COLLECT THIS WORK
This canvas is part of the extended Sick Smile cycle (2020–2025), the core
symbol of the SOME® Critical Pop universe.
Each variation in the series marks a different psychological chapter, making
the set a progressive archive of identity, excess and cultural saturation.

Most Sick Smile originals are already in private collections across Europe,
making this one of the final available works from the cycle.

Registered in the SOME® Archive 2018–2025, this piece bridges the shift from
street-based extraction to conceptual studio evolution — a key stage before
institutional expansion and international market entry.

1/1 — no reproductions.
Long-term value tied to the central icon of the SOME® mythology.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

SAILOR MOON (2024) — SOME®

Acrylic on canvas / 100×100 cm / 39.37×39.37 in / Commission
Archive Code: UP-2024-01

A one-of-one commissioned reinterpretation of the cult anime heroine, rendered in vibrant pop tones.
Here, nostalgia becomes self-aware — Japanese pop iconography collides with SOME®’s critical-pop lens, turning childhood reverence into a study of replication, saturation, and identity through media consumption.
The work mirrors how icons are not simply remembered, but endlessly remade.

ARCHIVE NOTES

• One-off commissioned canvas (2024)
• Revisits Japanese pop iconography through critical-pop reinterpretation
• Explores repetition, nostalgia, and cultural rebranding of anime heroines
• 1/1 original — commissioned by private collector, no reproductions issued

— SOME® Archive 2018–2025
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-2025-05

Not publicly available. Collector access required.

A biting satire on consumerism and pharmaceutical dependence.
The fast-food clown detonates into a manic symbol of excess —
celebration and collapse in a single gesture.

–––

WHY COLLECT THIS WORK
This canvas is a core work within SOME®’s Critical Pop Series (2022–2026),
where branding, medicine and mass culture collide into a single
post-consumer mythology.

Most early Critical Pop works are already held in private collections across
Italy and Europe, making this one of the first 2025 originals available for acquisition.

Registered in the SOME® Archive 2018–2025, it marks the transition into the
“system critique” phase of the brand — a shift from pop irony to explicit
cultural indictment, ahead of the institutional and international expansion.

1/1 — no editions.
Long-term value tied to the 2025 phase of the Critical Pop archive.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

TONY BANANA (2025) — SOME®

Stencil & spray paint on canvas / 120×100 cm
1/1 Original — Archive Code: IPC-2025-02

Not publicly available. Collector access required.

A pop-satirical reimagining of Tony Montana — armed not with a gun but with a banana.
Both threatening and absurd, the work turns cinematic violence into parody:
a critique of excess, myth and masculine spectacle.

–––

WHY COLLECT THIS WORK
Part of SOME®’s Icon Parody Cycle (2024–2026), where film archetypes,
street icons and pop-myths are dismantled and rewritten through irony.

Only two works from this cycle have entered private collections so far,
making this an early, highly scarce acquisition opportunity.

Registered in the SOME® Archive 2018–2025, the piece marks the shift from
consumer-critique to cultural myth-hacking — a key phase before the museum
and institutional expansion of the archive.

1/1 — no editions, no reproductions.
Long-term value tied to the cinematic + pop-culture crossover market.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com

FLIRT (2025) — SOME®

Stencil & spray paint on canvas / 120×100 cm
1/1 Original — Archive Code: PID-2025-03

Not publicly available. Collector access required.

A playful collision of myth and fairy tale —
Flirt merges Hercules and Cinderella in a moment suspended between irony and tenderness.

–––

WHY COLLECT THIS WORK
A key work within SOME®’s Pop-Icon Dialogues cycle (2024–2026), where figures from
animation, mythology and global storytelling are re-wired into contemporary cultural satire.

Flirt represents a rare crossover between the “myth series” and the “media icon series,”
making it one of the most hybrid and collectible canvases of the cycle.

Only three works from Pop-Icon Dialogues remain available.
All earlier works from 2024 are already in private collections.

Registered in the SOME® Archive 2018–2025.
1/1 — no editions, no future reproductions.

Long-term value tied to the evolution of the icon-critique body of work and to the
global familiarity of the image source — mythology + Disney archetypes.

— SOME® Archive 2018–2025
All Rights Reserved | www.someoneyelling.com