Consume

You are the product. You always have been. Welcome to Consume.

This is the collection that sits at the center of everything Jeffery Page has been saying since he first picked up a pen in Southern California and started paying attention to the world trying to sell him things he didn’t need, medicate him into compliance, and convince him that consumption was the same thing as living.

It is not subtle. It was never meant to be.

Consume is an ongoing body of work — painted, inked, drawn, and assembled across more than a decade — examining the machinery of American commercialism, capitalism, pharmaceutical culture, media manipulation, police mythology, and the endless loop of imagery that modern society uses to keep people buying, believing, and not asking too many questions.

Andy Warhol asked those questions first with a soup can. Jeffery Page asks them louder — and with considerably more edge.

The Lineage

There is a direct and deliberate line running through this collection from the history of American pop art and underground culture straight into the present moment.

Andy Warhol understood that the most subversive thing an artist could do in a consumer society was hold up its own imagery and make people stare at it long enough to feel uncomfortable. Warhol’s Campbell’s Soup cans weren’t celebration — they were confrontation disguised as decoration. Jeffery Page takes that exact strategy and injects it with Southern California street venom. His Soylent Green Campbell’s Soup piece doesn’t just reference Warhol — it completes the argument Warhol started. We are what we eat. We eat what they sell us. We are what they sell us.

Keith Haring gave pop art a heartbeat and a conscience. His work moved from the New York subway underground to gallery walls to the bodies of the people who wore it — and it never lost its urgency in translation. The dream photograph of Andy, Keith, and Jeffery that anchors this collection is not nostalgia. It is a declaration of artistic lineage. Jeffery Page belongs in that conversation — as a working artist, not as a student of it.

Raymond Pettibon — whose name appears directly in Jeffery’s caption for the LAPD Welcoming Committee piece — built his entire visual language around punk rock, police, American mythology, and the overlap between all three. His work appeared on Black Flag records, in galleries, and eventually at major museums. Jeffery Page has been working the same intersection from the Los Angeles side of it for years. Same subject matter. Same refusal to flinch. Different zip code.

Katsushika Hokusai’s Great Wave sits underneath the Crimewave Target piece — one of the most audacious moves in the entire collection. Jeffery Page takes the most recognized image in Japanese art history, one of the most reproduced images in human civilization, and turns it into a shooting gallery target. The ocean becomes a crime scene. Beauty becomes danger. The familiar becomes deeply uncomfortable. That is exactly what the best pop art has always done.

contact: Victoria@JefferyPage.com to inquiry

The Work

“Soylent Green Campbell’s Soup Consume” — The Warhol tribute with teeth. In Warhol’s world, the can was neutral. In Jeffery’s world, you are the ingredient.

“Nobody Does It Like Seven-Up!” — Lithium — Ink, acrylic, and pencil on Bristol, 2013. The soft drink ad format weaponized. What they’re really selling you has always been buried in the fine print.

“Choice of a Medicated Generation” — Liquid acrylic on Arches Watercolor Paper, 2013. Prozac presented as a consumer product launch. The pharmaceutical industry has always been the most successful ad agency in American history. This piece makes that visible.

“Baby Powder — The Other White Cancer” — Ink on Paper, 2014. Years before the Johnson & Johnson settlements, Jeffery Page was already putting it on the wall.

“Crimewave Target” — Liquid acrylic and ink on Arches, 2013. Hokusai meets the shooting gallery. The most beautiful and most violent image in the collection, simultaneously.

“Pettibon Said That Police Were Dangerous” — Ink and acrylic on paper, 2015. A direct acknowledgment of the underground art tradition Jeffery Page was raised on and continues.

“Shark Fin Soup” — The Warhol Campbell’s format applied to endangered species consumption. Luxury appetite as environmental crime, rendered in the language of advertising.

“Use When Dealing With PUSSY” — Ink and liquid acrylic on Arches Watercolor Paper, 2014. Sex sells. It always has. This piece just makes the transaction explicit.

“Andy, Keith and Jeffery — Dream Photo” — The artist places himself in the lineage he belongs to. Not aspirationally. Historically.

“You’ve Been Warned. It’s Life and Death. Love and Hate.” — The closing statement of the collection. Every piece in this gallery has been leading here.

Consume in the Pop Art & Music Fashion World

The Consume collection occupies a precise and valuable position in contemporary culture — one that the art market, the fashion world, and the music industry have all been circling from different directions without yet finding its center.

In pop art, this work sits in the tradition of artists who used the language of advertising against itself — a practice that has driven the most significant gallery sales and institutional acquisitions of the last 40 years. From Warhol’s estate commanding eight-figure auction results, to Jeff Koons, to the continued market strength of Haring’s estate, the commercial value of work that critiques commercialism has proven to be one of the art world’s most durable ironies. Consume is exactly that kind of work — and it has the decade-plus archive to prove it is not a trend.

In music and fashion, Jeffery Page’s visual language in this collection maps directly onto the aesthetic that has defined the most culturally significant album art, tour merchandise, and fashion collaborations of the underground-to-mainstream pipeline. The pharmaceutical ad parodies speak the same visual language as the pill-culture imagery that has run through hip-hop and rock fashion since the 1990s. The police iconography belongs to the same tradition as the imagery on every Rage Against the Machine record and every Black Flag shirt that has ever sold out before it was printed. The Warhol tributes connect directly to the art-fashion collaborations — Supreme×Warhol Foundation, Vans×Warhol — that have generated some of the most commercially successful drops in streetwear history.

Jeffery Page isn’t referencing that world from the outside. He is that world, documented over a decade, available for acquisition now.

The Consume collection represents one of the most compelling opportunities in the current market for collectors who understand that the artists acquired before the institutional recognition are the ones whose collections appreciate. Warhol sold soup cans. Haring sold subway drawings. Pettibon sold punk flyers. Every one of them became a blue chip.

Jeffery Page is selling Consume. The question is whether you’re paying attention.

Acquire Original Works & Prints

Selected original works from the Consume collection are available for acquisition through the Gallery Store. For collector inquiries, institutional interest, licensing for fashion and music projects, or gallery representation:

📩 Victoria@JefferyPage.com

Please include your name, the work(s) of interest, and the nature of your inquiry. All originals are unique works on archival paper with certificates of authenticity available upon request.

⚠️ Parental Advisory: This collection contains deliberately provocative social commentary. Language, imagery, and subject matter are intentional. Art that doesn’t make someone uncomfortable somewhere isn’t doing its job.

Consume is an ongoing collection © Jeffery Page 2013–2026. All rights reserved. JefferyPage.com is the sole authorized point of sale and representation for all works in this collection.

(Currently Under Construction) May 9th, 2026