Mind Condition. Comes in its original packaging.
Hand-signed by artist, Hand-signed and numbered on the verso
In the late 1990s, anonymous French artist Invader began cementing and gluing ceramic mosaic Space Invaders—pixelated characters from the eponymous 1978 video game—across the streets of Paris. He expanded his roster to include Pac-Man ghosts and other popular 8-bit characters, and his works now adorn cities around the world, from Los Angeles to Kathmandu. Along with these clandestine works of street art, Invader has produced mosaics on Perspex panel, plywood, and book covers. He has also created paintings, drawings, and screen prints in his signature pixelated style. These works re
Editioned recto, lower right. Signed, dated '5/13/16' and editioned verso by Lisane Basquiat and Jeanine Heriveaux, the artist's sisters and administrators of the Estate of Jean-Michel Basquiat, on a certificate of authenticity affixed to the reverse.
Conceived in 1984 and printed in 2016, after the artist's painting by the same title. "Flexible depicts a griot—a storyteller, musician, and purveyor of oral history from West African culture—whose arms are joined together as a continuous band above the head".
About Flying Copper
In Flying Copper, instead of the human face, a yellow dot appears underneath the policeman’s helmet, evoking the iconic symbol of 1990s rave culture. The tension between the smiling face and threatening presence of the assault rifles creates a striking image of oppression as something that lurks behind a fake appearance of the individuals in power.
The figure of a copper with a smiling dot-shaped face first appeared on Banksy’s cut-out paintings suspended on cardboard from the ceiling at Turf War, the artist’s first major exhibition in a Dalston warehouse in 2003. A smiling yellow face featured frequently in designs promoting the underground acid house
About CND Soldiers
Captured in stencil-sprayed style, two soldiers appear in the print as they crouch on the ground surveying the landscape. One soldier holds a machine gun, while the other paints a big red peace sign. The clash of symbols builds a tension positioning the peacemaking and weaponization as conflicting forces. The print challenges the conventional notions of peacemaking, urging the viewer to imagine it beyond the sphere of military undertaking.
A poignant commentary on the UK’s engagement in the Iraq war, CND Soldiers originated as a mural near the Houses of Parliament in London. The work found inspiration in a real-life protest organised by activist Brian H
About Bomb Middle England
Bomb Middle England, an unsigned screen print released in a limited edition of 500, depicts three women playing a game of boules. In a characteristic Banksy twist, mundane objects have been substituted with symbols of violence urging us to think critically of Western countries’ privileges. Instead of actual balls, the women are seen enjoying themselves next to ignited fuse bombs.
The artwork sheds light on the illusions of separation and safety privileges associated with middle-class living. By casting a negative light on the specific moment of entertainment and leisure, Banksy constructs a scene where the apparent innocence of people and place re
Festival captures a gathering of people queued up to purchase a t-shirt featuring an anti-capitalist slogan. The line consists of both the young and the elderly, representing diverse subculture groups and serving as a microcosm of contemporary society. Banksy orchestrates the scene with a subtle paradox: those standing in line ostensibly supporting an anti-capitalist message are engaged in buying and spending, the very activities that propel capitalism's relentless cycle.
The print offers a critical examination of the behavioural patterns ingrained in consumer society. Unable to enact a meaningful change, the individuals depicted in Banksy’s print succumb to
About Donuts (Strawberry)
Donuts (Strawberry) portrays an American police van crowned with a strawberry glazed donut. Surrounding the vehicle are five police officers on motorcycles, creating a visual connection between symbols of consumerism and contemporary structures of control and power.
This print delves into the intersecting realms of consumerism and police control, inviting a multitude of interpretations. The dominating presence of the oversized donut perched on top of the car challenges the conventional perception of authority associated with the police. The print implies that the actions of the police may not be aligned with the best interests of the public, often
About Donuts (Chocolate)
Donuts (Chocolate) depicts an American police van with a chocolate glazed donut on top of the vehicle. A group of five police officers on motorcycles is seen around the car, introducing a link between symbols of consumerism and modern structures of control and power.
The overlapping realms of consumerism and police control in the print invite a variety of interpretations. The overwhelming size of the donut and its playful presence on top of the car diminish the notion of authority vested in the police. The visual choice suggests that actions of the police aren’t headed in the right direction as they often serve the needs of political bodies rather
About Gangsta Rat
A rat in a baseball cap appears next to a ghetto blaster, showcasing recognisable attributes of NYC ‘90s hip hop culture. IPOW tag features on the wall behind the rat, referencing Pictures on Walls – Banksy’s main print publisher from 2003 until 2017.
Banksy employs rats in his artworks as a means of addressing class inequality and questioning societal stereotypes, particularly those perpetuated by mainstream media regarding the urban underclass. Executed in Banksy's distinctive stencil style, the Gangsta Rat takes inspiration from 90s New York hip hop fashion. Adorned with a New York Mets baseball cap, ear piercing, and a lengthy chain, the creature embo
About Gangsta Rat
In Gangsta Rat, a rat in a baseball cap appears next to a ghetto blaster, encapsulating trademarks of NYC ‘90s hip hop culture. IPOW tag features on the wall behind the rat, referencing Banksy’s main print publisher – Pictures on Walls.
Rendered in Banksy’s iconic stencil, the rat impersonates the 90’s New York hip hop fashion. Wearing a New York Mets baseball cap, ear piercing, and a long chain, the creature features a series of attributes typically associated with the world of New York underground culture and hip hop music. Rats feature in Banksy’s works to give voice to the issues of class inequality and challenge social stereotypes, especially ones as
In Flag, children and young adults stand atop a burnt-out car, holding the American flag. Depicted as disenfranchised urban youths, these central figures evoke a poignant sense of melancholy. Some may interpret them as symbols of hope and ambition, resiliently pursuing the American Dream despite adversity, violence, and injustice. Others might view Banksy's image of youth in Flag as linked to the critique of America’s spending on militarization and involvement in foreign conflicts.
A recurring motif in Banksy’s art, children symbolise both the future and the profound sociopolitical issues under scrutiny. The artwork draws inspiration from Joe Rosenthal's iconic
In Flag, a group of children and young adults stands atop a charred-out car, hoisting the American flag. Depicted as disenfranchised urban youths, the central figures strike the viewer with a sense of melancholy. Some may see these children as representative of faith and ambition – the youth continuing to pursue the American Dream in the face of adversity, violence and injustice. Others might see the young people as linked to the problem of the US’ exorbitant spending on militarisation.
Symbolising both the future and the gravity of sociopolitical issues under examination, children represent a recurring motif in Banksy’s art. The artwork references Joe Rosentha
About Because I'm Worthless
Banksy's renowned 2004 print showcases a rat adopting a human-like vertical pose, holding a sign bearing the phrase Because I'm Worthless. The rat's unexpected human stance encourages viewers to reevaluate traditional notions of value and worthiness. Serving as a medium for the artist's skepticism toward capitalism, this print prompts contemplation on societal labels and the consequences of the judgments we cast upon each other.
Throughout his career, Banksy has introduced a series of animal characters to establish a visual language representing vulnerable and overlooked members of society. The rat, featured prominently in his prints, channels
In sculptures, installations, and public artworks, Antony Gormley considers the relationship between time, space, and the human body. Starting with the outline of a body—often his own—Gormley builds sculptures, mostly from iron and steel. He transforms the recognizable silhouettes into abstracted tangles and architectural forms, expanding the limits of his medium in the process. In the 1970s, Gormley studied Buddhist meditation and philosophy in India, nearly becoming a monk before he committed to a career as an artist. He has exhibited in New York, London, Paris, Berlin, Tokyo, Brussels, and Singapore, and has mounted public sculptures throughout Asia, Australia, Europe, and North America.