Every Time I Make Love To You I Think Of Someone Else, 2003

Unlike larger exhibition examples, the compact square format intensifies the composition. The vehicles almost completely occupy the pictorial space, while the vivid magenta background transforms the heart from a distant backdrop into an all-encompassing atmosphere. The result is less narrative than symbolic: romance and warfare become inseparable, exposing the uncomfortable intimacy between violence and political rhetoric.

Executed during the period leading to the Iraq War, the painting belongs to Banksy’s earliest body of explicitly anti-war works, alongside Love Is In The Air, Bomb Hugger, CND Soldiers, and Happy Chopper. Throughout these works, Banksy consistently replaces the imagery of conflict with symbols traditionally associated with affection, innocence, or hope. Here, the sentimental heart does not celebrate love; instead, it highlights the absurdity of military alliances and the emotional emptiness that often lies behind official justifications for war.

The work’s playful title is equally revealing. By borrowing the language of a failing romantic relationship, Banksy reduces international diplomacy to an uncomfortable confession, suggesting that wars are frequently driven by motives far removed from the ideals publicly invoked to justify them. As so often in Banksy’s art, laughter becomes the vehicle for a more disquieting reflection.

Gifted directly by the artist and retaining the freshness of his early experimentation, this canvas belongs to the formative period in which Banksy established the visual vocabulary that would define his career. Its wit, clarity, and remarkable economy of means illustrate his ability to transform a simple, instantly legible image into a lasting political allegory.