Miss Piggy On Ozempic Acid Blotter Paper Archival Print by Ben Frost, released in 2025 Hand-perforated by Zane Kesey, Son of Ken Kesey, author of One Flew Over the Cuckoo's Nest! This was a time-released print, which has long been sold out. Each print comes numbered and signed by Ben Frost and with a Certificate of Authenticity from 1XRUN Obviously, there are no drugs on the blotter! Miss Piggy On Ozempic by Ben Frost: Glamour, Medication, and Street Pop Satire, released in 2025, marks another unflinching entry in the artist’s exploration of pharmaceutical aesthetics and iconic pop culture. Printed as a limited edition archival pigment work on perforated blotter paper, this 7.5 x 7.5 inch artwork puts Miss Piggy—arguably the most flamboyant and body-conscious character of the Muppets—at the center of a satirical fusion between celebrity vanity and the contemporary obsession with weight-loss medication. Miss Piggy is rendered in her classic pink glamor with her signature lashes, pearls, and sass, juxtaposed against the stark commercial design of Ozempic packaging. With references to semaglutide, prescription labels, and the inflated price of American healthcare, the work pokes at society’s increasing reliance on aesthetic pharmaceuticals. Street Pop Art & Graffiti Artwork Meets Medical Consumerism Ben Frost, known for his bold and controversial use of commercial packaging as visual canvas, turns pharmaceutical branding into a narrative device. With Miss Piggy as the character choice, the message becomes sharply ironic. The collision of children’s entertainment with adult insecurities about beauty, size, and control echoes throughout the composition. This piece is not just parody but visual critique, challenging the public’s relationship with health marketed as vanity and the commodification of self-worth. The format of the blotter paper, perforated and collectible, reinforces the idea of medication as a consumable culture artifact—something to be taken, divided, shared, or used for identity shaping. The Role of Feminine Icons in Street Pop Narratives Miss Piggy’s exaggerated femininity and status as a cultural diva are cleverly subverted in this composition. Her character becomes a visual metaphor for the endless pursuit of image perfection. Ben Frost’s work often questions who sets those standards and who profits from them. Here, the packaging of a once-niche diabetes medication now popularly associated with cosmetic weight loss becomes the modern-day pedestal on which icons are propped and critiqued. This collision of corporate design and animated star power builds tension between innocence and commodification, using Street Pop Art & Graffiti Artwork methods to satirize how quickly culture recycles its idols and issues. Blotter Medium and Psychedelic Provocation Produced in collaboration with Zane Kesey, who hand-perforated the blotter editions, the piece subtly nods to counterculture and the history of mind-altering media. While Ozempic is marketed as a drug for bodily transformation, the print format itself references altered states of awareness. The use of a pop icon like Miss Piggy elevates the print to a statement not just about beauty standards, but about consumption itself—whether it's drugs, fame, or cartoon nostalgia. Miss Piggy On Ozempic is a sharp-edged satire of cultural priorities in an era of performative wellness and image engineering. It is loud, subversive, and unmistakably Frost. ABOUT THE ARTIST: Australian born artist Ben Frost is known for his kaleidoscopic Pop Art, mash-up paintings that take inspiration from areas as diverse as graffiti, collage, photorealism and sign-writing. He has been exhibiting throughout the world for the last 12 years and has been involved in his own share of controversy. In 2000, he faked his own death for an exhibition suitably titled ‘Ben Frost is Dead’ which made national news in Australia. His painting ‘White Children Playing’ caused a stir for its graphic depiction of children using drugs and a masked and disgruntled assailant slashed one of the paintings in his exhibition at the Institute of Modern Art in Brisbane. Police also tried to remove one of his collaborative artworks in an exhibition at the Museum of Contemporary Art in Sydney because of its graphic nature. He also began and continues to run the Australian street art website ‘Stupid Krap’ and started the yearly paste-up festival Paste-Modernism, which is the largest of its kind in the world.