Critical Pop Originals by SOME® — Hand-sprayed, signed and certified.
Each canvas is a unique hand-sprayed artwork by SOME®, part of the Uncomfortable Pop series.
Signed, certified, and shipped worldwide from Italy.
CORTINA D’AMPEZZO (2020) — SOME®
Stencil & spray paint on canvas / 70×100 cm / 27×40 in / AVAILABLE
Archive Code: UP-2020-07Not publicly available. Collector access required.
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.
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WHY COLLECT THIS WORK
This piece crystallizes the core tension of SOME®’s work. The stencil technique imposes structural rigidity and control (evoking the coercive nature of a TSO), while the subject’s identity is deliberately erased and dissolved into pixels. The result is not a portrait, but the representation of a youth reduced to a performative silhouette, wearing status without embodying it. It is the visceral and sedated manifestation of Uncomfortable Pop.
1/1 — no editions, no reproductions.
Long-term value tied to the evolution of the Sick Smile mythology.
— SOME® Archive 2018–2026 All Rights Reserved | www.someoneyelling.com(by request only)
EBBASTA! (2021) — SOME®
Stencil & spray paint on canvas / 150×100 cm
1/1 Original — Archive Code: SS-2021-01Not 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.
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WHY COLLECT THIS WORK
A perceptual short-circuit archived on canvas. The artwork documents the exact instant the institutional mask collapses under the weight of chemical sedation and systemic trauma. The rigid industrial yellow stencil—the ‘vulnerability’—is violated by a material hemorrhage of black and red paint—the ‘life event’. The dilated, sugar-glazed pupils signify the ultimate negative symptom: catatonia disguised as pop ecstasy. SOME® orchestrates a linguistic sabotage that destroys the mass-culture aesthetic from within. A UHNW fetish that does not decorate the environment, but certifies its psychological collapse.
1/1 — no editions, no reproductions.
Long-term value tied to the evolution of the Sick Smile mythology.
— SOME® Archive 2018–2026 All Rights Reserved | www.someoneyelling.com(by request only)
QUEER (2022) — SOME®
Stencil & spray paint on canvas / 70×50 cm
1/1 Original — Archive Code: UP-2022-03Not 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.
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WHY COLLECT THIS WORK
The ultimate symbol of institutional permanence collapses into chemical reliance. Rendered in a flat, pharmaceutical pink, the sovereign is reduced to a clinical symptom. SOME® strips the crown of its divine aura, exposing the performative exhaustion of power. The cigarette becomes the sole coping mechanism for an obsolete authority kept alive by the Culture Industry. This is not a portrait; it is a diagnosis of historical catatonia. A UHNW asset archiving the slow death of tradition.
1/1 — no editions, no reproductions.
Long-term value tied to the evolution of the Uncomfortable Pop series.
— SOME® Archive 2018–2026 All Rights Reserved | www.someoneyelling.com(by request only)
LOREDANA BERTÈ (2024) — SOME®
Stencil & spray paint on canvas / 70×50 cm
1/1 Original — Archive Code: CP-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.
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WHY COLLECT THIS WORK
The idol as a clinical specimen. Rebellion packaged, sterilized, and sold back to the masses as an aesthetic. The heavy black stencil locks the identity into a permanent, flat state of ‘negative symptoms’. The face is no longer human; it is a highly engineered brand, drained of organic life and preserved exclusively for market consumption. An artifact that reminds the elite that even subversion is ultimately just another asset class
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(by request only)
A SICK SMILE #4 (2024) — SOME®
Dripping & spray paint on canvas / 100×100 cm
1/1 Original — Archive Code: SSX-2024-04Not 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.
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WHY COLLECT THIS WORK
The definitive clinical record of the Diathesis-Stress model. The canvas maps the exact collision between chaotic trauma (the expressionist background) and the desperate attempt at institutional control (the rigid white stencil). The smile does not express joy; it is a catatonic reflex attempting to hold a fractured reality together. It is the visual normalization of sensory overload. For the UHNW collector, this piece functions as a high-end containment unit for the systemic anxiety of the market.
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(by request only)
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.
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WHY COLLECT THIS WORK
A direct assault on the hyper-commodified self. The corporate stencil—the ultimate capitalist armor—melts under the weight of narcissistic obsession. As the Frankfurt School predicted, individuality has become a mass-produced fiction. The bleeding typography represents a clinical ‘Life Event’: the exact moment the brand fails to contain the psychological void. SOME® engineers a linguistic sabotage where the ultimate hype-fetish hemorrhages its own emptiness.
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 2018–2026 All Rights Reserved | www.someoneyelling.com(by request only)
NASCI, CURATI, INGRASSA, ESPLODI (2025) — SOME®
Stencil & spray paint on canvas / 100×150 cm
1/1 Original — Archive Code: CPC-2025-05Not 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.
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WHY COLLECT THIS WORK
The mascot of global consumption weaponized against itself. Forced joy is revealed as an act of systemic violence. The flat, industrial yellow masks a terminal paranoia, turning the ultimate symbol of the Culture Industry into an agent of self-destruction. SOME® exposes the suicidal core of modern capitalism: a society entertained to death. The artwork induces a state of perceptual alteration, offering the elite collector the ultimate trophy—the apocalypse disguised as a Happy Meal
1/1 — no editions.
Long-term value tied to the 2025 phase of the Critical Pop archive.
— 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-2025-02Not 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.
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WHY COLLECT THIS WORK
The alpha icon of rogue capitalism is clinically disarmed. By replacing the weapon with a mass-consumer artifact, SOME® strips the delusion of grandeur of its lethal power. The pop-stencil technique flattens the myth, turning violent ambition into an absurd, institutionalized joke. This canvas operates as a ‘formal thought disorder’: the brain expects violence but is fed commercial compliance. A visual diagnosis of impotence in the face of absolute commodification.
1/1 — no editions, no reproductions.
Long-term value tied to the cinematic + pop-culture crossover market.
— 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-2025-03Not 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.
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WHY COLLECT THIS WORK
The forced lobotomy of the classic hero myth. The Culture Industry’s most sanitized narratives are hijacked by real-world paranoia. The flat, comforting vectors of childhood animation are violently corrupted by the cold insertion of modern violence. SOME® executes an act of aesthetic patricide: killing the comforting illusion to expose the systemic anxiety underneath. It is the end of innocence, sealed in acrylic and sold to those who orchestrate the reality principle.
Registered in the SOME® Archive 2018–2026.
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 2018–2026 All Rights Reserved | www.someoneyelling.com