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Flying Copper, 2003

BY

BANKSY
Flying Copper
, 2003
Acrylic and spray-paint stencil on cardboard, double-sided
200×123 cm (81×48 inches)
From a series

Exhibited
Turf War, London, 2003

Auction History

Several works from the series sold at auction over the past 10 years.

Digard Auction
1 June 2015

Est.: EUR 120,000 – 150,000
Artcurial
22 January 2013

Est.: EUR 80,000 – 120,000
Sotheby’s London
11 April 2018

Est.: GBP 30,000 – 40,000
Price Realized
EUR 185,020 / USD 201,880
Price Realized
EUR 112,963 / USD 150,285
Price Realized

 

Catalogue Note

‘The Greatest Crimes in the world are not committed by people breaking the rules but by people following the rules.’

Flying Copper shows a heavily armed police officer portrayed with small angel wings on his back. The policeman has a striking yellow smiley face which evokes of 1990s acid house culture but also a simply drawn popular and childlike design. The symbolism of the smiling face juxtaposed with assault rifle and armor shows a striking image of oppression and threat hiding behind a friendly face. Flying Copper explores the line between “peace-keeper” and “militant forces,” reminding the viewer to be skeptical of those with too much authority or power.

 

Flying Copper first appeared under a number of giant cut-out paintings suspended on cardboard from the ceiling at Turf War, Banksy’s first major exhibition in a warehouse in East London in 2003. The cut-outs were later spotted on the streets of Vienna and London, where the stencil appeared with a distinct red Banksy tag through the middle of it. Shoreditch Bridge also featured a row of Flying Coppers at some point.

 Banksy, Cut It Out, December 2004

Flying Copper is one of Banksy’s earliest and most iconic images. As such, it is well known all around the world. Indeed, this visual is the perfect example of Banksy’s style featuring contrasting aesthetics: photo-realistic stencils combined with graphic features. 

Combining those features results in a striking visual that sticks in the mind of the viewer. The juxtaposition of opposing concepts compels the audience to reconcile the fact that the “smiley face” (happiness), on an individual outfitted with riot gear (fear and intimidation) are perhaps not as contradictory as we might naturally think.
Banksy combines them into one singular image to question the role the police state truly plays and how “perception vs reality” are oftentimes very different. The little angel wings on the policeman’s back accentuate an amusing juxtaposition between morality, truth, military control and intimidation.

 

 

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