





Punk Crotch Grab - Endless
Artist : Endless
Artwork : Punk Crotch Grab - Signed and numbered edition of 25
Medium : Mixed media with acrylic and spray paint hand finishing’s on 300gsm art paper with torn edges
Size : 102 × 143 cm
Frame : Bespoke Hand Finished Frame
Artist : Endless
Artwork : Punk Crotch Grab - Signed and numbered edition of 25
Medium : Mixed media with acrylic and spray paint hand finishing’s on 300gsm art paper with torn edges
Size : 102 × 143 cm
Frame : Bespoke Hand Finished Frame
Artist : Endless
Artwork : Punk Crotch Grab - Signed and numbered edition of 25
Medium : Mixed media with acrylic and spray paint hand finishing’s on 300gsm art paper with torn edges
Size : 102 × 143 cm
Frame : Bespoke Hand Finished Frame
In Punk Crotch Grab, Endless fuses the raw defiance of British punk with the sexualised polish of 1990s commercial imagery. The figure stands confrontational and unfiltered—mid-pose in the now-infamous Crotch Grab stance—first made famous by Mark Wahlberg’s Calvin Klein campaign, and later repurposed by Endless as a street-level critique of consumerist desire.
Here, the traditional Crotch Grab icon is reborn as a mohawked, booted anarchist—face masked with a Union Jack bandana and sprayed in vivid tones of red, gold, and black. The figure evokes the spirit of London’s punk underground, where DIY aesthetics, subversion, and anti-establishment politics took centre stage. The pose, once associated with hypermasculine advertising, now becomes a symbol of rebellion—a body not for sale, but in protest.
Sprayed across a background layered with graffiti tags and gritty stencil work, the painting is crowned with the word ENDLESS—rendered like a magazine masthead, transforming the punk into a reluctant cover star. Bits of gold leaf shimmer across the figure, ironically glamorising the very image that challenges commodification.
With echoes of both the Sex Pistols and streetwear branding, this work bridges generations of rebellion—from analogue zines to digital protest, from underground clubs to gallery walls. Like much of Endless’ work, it blurs the boundaries between icon and irony, between worship and warning.