THE QUICKEST WAY TO THETOP OF YOUI~ BUSINESS

IS TO TUI~N IT UPSIDE DOWN

Published by Banksy

info@banksy.co.uk ©Banksy 2001All Rights Reserved. No part of this publication may be used

for commercial purposes.

ISBN 0-9541704-0-7Southbank, London 2001

THE QUICKEST WAY TO THETOP OF YOUI~ BUSINESS

IS TO TUI~N IT UPSIDE DOWN

Published by Banksy

info@banksy.co.uk ©Banksy 2001All Rights Reserved. No part of this publication may be used

for commercial purposes.

ISBN 0-9541704-0-7Southbank, London 2001

You could say thatgraffiti is ugly, selfishand that it's just theaction of people who wantsome pathetic kind offame. But if that's trueit's only because graffitiwriters are just likeeveryone else in thisfucking country.

Someone recently asked meif I thought most graffitiwriters were really justfrustrated artists likemyself. Well l' m frus­trated by many things buttrying to get accepted bythe art world isn't one ofthem. This seems difficultfor some people to under­stand - you do not paintgraffiti in the vain hopethat one day some big fattory will discover you andput your pictures on hiswall. If you draw on wallsin public then you arealready operating on ahigher level. The irony isthat despite having toscuttle around at nightlike Jack the Ripper witha marker pen, writinggraffiti is about the mosthonest way you can be anartist. It takes no moneyto do it, you don' t needan education to understandit, there's no admissionfee and bus stops are farmore interesting anduseful places to havepictures than in museums.

Some people think youshould have better thingsto think about than tryingto think about betterthings. But the instinctis still there. Life isunfair and the world isfull of cripples, deathand deviousness.

In response to this,painting pictures seems apointless way to spendyour time. Your averageplumber does more forhumanity than some gitthat makes abstract art orpaints seaside views fullof boats. At leastgraffiti has a fightingchance of meaning a littlemore to people. Graffitihas been used to startrevolutions, stop wars andgenerally is the voice ofpeople who aren't listenedto. Graffiti is one of thefew tools you have if youhave almost nothing. Andeven if you don't come upwi th a picture to cureworld poverty you can makesomeone smile whilethey're having a piss.

Graffiti ultimately winsout over proper artbecause it becomes part ofyour city, it's a tool;"1' 11 meet you in thatpub, you know, the oneopposite that wall with apicture of a monkey hold­ing a chainsaw". I mean,how much more useful can apainting be than that?

You could say thatgraffiti is ugly, selfishand that it's just theaction of people who wantsome pathetic kind offame. But if that's trueit's only because graffitiwriters are just likeeveryone else in thisfucking country.

Someone recently asked meif I thought most graffitiwriters were really justfrustrated artists likemyself. Well l' m frus­trated by many things buttrying to get accepted bythe art world isn't one ofthem. This seems difficultfor some people to under­stand - you do not paintgraffiti in the vain hopethat one day some big fattory will discover you andput your pictures on hiswall. If you draw on wallsin public then you arealready operating on ahigher level. The irony isthat despite having toscuttle around at nightlike Jack the Ripper witha marker pen, writinggraffiti is about the mosthonest way you can be anartist. It takes no moneyto do it, you don' t needan education to understandit, there's no admissionfee and bus stops are farmore interesting anduseful places to havepictures than in museums.

Some people think youshould have better thingsto think about than tryingto think about betterthings. But the instinctis still there. Life isunfair and the world isfull of cripples, deathand deviousness.

In response to this,painting pictures seems apointless way to spendyour time. Your averageplumber does more forhumanity than some gitthat makes abstract art orpaints seaside views fullof boats. At leastgraffiti has a fightingchance of meaning a littlemore to people. Graffitihas been used to startrevolutions, stop wars andgenerally is the voice ofpeople who aren't listenedto. Graffiti is one of thefew tools you have if youhave almost nothing. Andeven if you don't come upwi th a picture to cureworld poverty you can makesomeone smile whilethey're having a piss.

Graffiti ultimately winsout over proper artbecause it becomes part ofyour city, it's a tool;"1' 11 meet you in thatpub, you know, the oneopposite that wall with apicture of a monkey hold­ing a chainsaw". I mean,how much more useful can apainting be than that?

Pulling the plug on city hallCouncil House, Bristol 2001

Pulling the plug on city hallCouncil House, Bristol 2001

s is l'1C)t

phutoupportunity

Getting paranoid is anoccupational hazard ofillicit street painting I

which is good. Your mindis working at its bestwhen you're being para­noid. You explore everyavenue and possibility

The bugs donI t work

of your situation at highspeed with total clar­ity. I'm not interestedin looking at things madeby people who aren'tparanoid, they're notworking to their fullcapacity.

s is l'1C)t

phutoupportunity

Getting paranoid is anoccupational hazard ofillicit street painting I

which is good. Your mindis working at its bestwhen you're being para­noid. You explore everyavenue and possibility

The bugs donI t work

of your situation at highspeed with total clar­ity. I'm not interestedin looking at things madeby people who aren'tparanoid, they're notworking to their fullcapacity.

We can't do anything to change the world untilcapitalism crunbles. In the meantime we should all goshopping to console ourselves.

We can't do anything to change the world untilcapitalism crunbles. In the meantime we should all goshopping to console ourselves.

-_ MANIFESTO

The corrupt and brutalregime of PresidentCeausescu of Romania wasinfamous the world over.His ferocious governmenthad run the countryemphatically for manyyears, crushing any signsof dissent ruthlessly. InNovember 1989 he was re­elected President foranother five years as hissupporters at Party Con­ference gave him fortystanding ovations.

On December 21st thePresident, disturbed by asmall uprising in thewestern city of Timisoarain support of a Protes­tant Clergyman, was per­suaded to address a pub­lic rally in Bticharest.

One solitary man in thecrowd, Nica Leon, sick todeath with Ceausescu andthe dreadful circumstan­ces he cre?ted for every­one started shouting infavour of the revolution­aries in Tirnisoara. Thecrowd around him, obedientto the last, thought thatwhen he shouted out "Longlive Timisoara! Ir it wassome new political slogan.

They started chanting ittoo. It was only when hecalled, "Down withCeausescu! II that theyrealised something wasn'tqui te right. Terrified,they tried to force them­selves away from him,dropping the banners theyhad been carrying. In thecrush the wooden batons onwhich the banners wereheld began to snap under­foot and women startedscreaming. The ensUJ.ngpanic sounded like booing.

The unthinkable was happ­ening. Ceausescu stoodthere on his balcony,ludicrously frozen inuncertainty, his mouthopening and shutting. Eventhe official camera shookwith fright. Then the headof security walked swiftlyacross the balcony towardshim and Whispered "they regetting in". It wasclearly audible on theopen microphone and wasbroadcast over the wholecountry on live nationalradio.

This was the start of therevolution. Within a weekCeausescu was dead.

Source: John Simpson BBC News.

-_ MANIFESTO

The corrupt and brutalregime of PresidentCeausescu of Romania wasinfamous the world over.His ferocious governmenthad run the countryemphatically for manyyears, crushing any signsof dissent ruthlessly. InNovember 1989 he was re­elected President foranother five years as hissupporters at Party Con­ference gave him fortystanding ovations.

On December 21st thePresident, disturbed by asmall uprising in thewestern city of Timisoarain support of a Protes­tant Clergyman, was per­suaded to address a pub­lic rally in Bticharest.

One solitary man in thecrowd, Nica Leon, sick todeath with Ceausescu andthe dreadful circumstan­ces he cre?ted for every­one started shouting infavour of the revolution­aries in Tirnisoara. Thecrowd around him, obedientto the last, thought thatwhen he shouted out "Longlive Timisoara! Ir it wassome new political slogan.

They started chanting ittoo. It was only when hecalled, "Down withCeausescu! II that theyrealised something wasn'tqui te right. Terrified,they tried to force them­selves away from him,dropping the banners theyhad been carrying. In thecrush the wooden batons onwhich the banners wereheld began to snap under­foot and women startedscreaming. The ensUJ.ngpanic sounded like booing.

The unthinkable was happ­ening. Ceausescu stoodthere on his balcony,ludicrously frozen inuncertainty, his mouthopening and shutting. Eventhe official camera shookwith fright. Then the headof security walked swiftlyacross the balcony towardshim and Whispered "they regetting in". It wasclearly audible on theopen microphone and wasbroadcast over the wholecountry on live nationalradio.

This was the start of therevolution. Within a weekCeausescu was dead.

Source: John Simpson BBC News.

()NI~ WHO BELIEVES IN CAPITAL PUNISHMENTSHOULD BE SHOT

Electric ~rs are not a gas

When I was nine years oldI was expelled fromschool. It was punish­ment for swinging one ofmy classmates round andround before droppinghim onto a concretefloor. He was taken awayfrom school by anambulance that had topull right into theplayground and pick himup on a stretcher.

The next day I was madeto stand in front of thewhole school at assemblywhile the headmastergave a speech about goodand evil before I wassent home in disgrace.

The unfortunate part ofthis story is that Inever actually touchedthe kid. It was my bestfriend Jirruny who had puthim into casualty. Me anda boy called Martinwatched Jirruny grab thekid's hand and swing himuntil he was too dizzy tostand up and when he letgo the kid just seemed tofly off and land on hishead. It wasn't evenmalicious, just stupid.However, Jim was a bigchap for his age andcould be very per.suasive.So when we noticed thekid wasn't getting up Jimconvinced Martin to saythat it was me vlho haddone it. The only other

wi tness was the kidhimself who didn't regainconciousness for a week.

I tried many times toexplain that I hadn'tdone it, but the boysstuck to their story.Eventually my mum turnedto me and said bitterlythat I should have theguts to admit when I waswrong and that it waseven more disgustingwhen I refused to acceptwhat 1'd done.

So I shut up after that.

The kid sustained afractured skull and somemental problems. Hecouldn't remember how ithad happened and hedidn't return to schoolfor a long time.

I think I was lucky tolearn so young thatthere' 5 no such thing asjustice and there'snothing you can do aboutit. The more usefullesson I learnt was thatthere's no point inbehaving yourself. Youwill probably bepunished for somethingyou never did anyway.People get it wrong allthe time.

Anyone who believes incapital punishment shouldbe shot.

()NI~ WHO BELIEVES IN CAPITAL PUNISHMENTSHOULD BE SHOT

Electric ~rs are not a gas

When I was nine years oldI was expelled fromschool. It was punish­ment for swinging one ofmy classmates round andround before droppinghim onto a concretefloor. He was taken awayfrom school by anambulance that had topull right into theplayground and pick himup on a stretcher.

The next day I was madeto stand in front of thewhole school at assemblywhile the headmastergave a speech about goodand evil before I wassent home in disgrace.

The unfortunate part ofthis story is that Inever actually touchedthe kid. It was my bestfriend Jirruny who had puthim into casualty. Me anda boy called Martinwatched Jirruny grab thekid's hand and swing himuntil he was too dizzy tostand up and when he letgo the kid just seemed tofly off and land on hishead. It wasn't evenmalicious, just stupid.However, Jim was a bigchap for his age andcould be very per.suasive.So when we noticed thekid wasn't getting up Jimconvinced Martin to saythat it was me vlho haddone it. The only other

wi tness was the kidhimself who didn't regainconciousness for a week.

I tried many times toexplain that I hadn'tdone it, but the boysstuck to their story.Eventually my mum turnedto me and said bitterlythat I should have theguts to admit when I waswrong and that it waseven more disgustingwhen I refused to acceptwhat 1'd done.

So I shut up after that.

The kid sustained afractured skull and somemental problems. Hecouldn't remember how ithad happened and hedidn't return to schoolfor a long time.

I think I was lucky tolearn so young thatthere' 5 no such thing asjustice and there'snothing you can do aboutit. The more usefullesson I learnt was thatthere's no point inbehaving yourself. Youwill probably bepunished for somethingyou never did anyway.People get it wrong allthe time.

Anyone who believes incapital punishment shouldbe shot.

I was at home drawing andlistening to Radio Onelate at night when the djbecame so annoying Igrabbed some paint anddrove to the studios onNew Cavendish Street: l' djust stuck a stencil of arat playing on some turn­tables to the side of thebuilding when a riot vanpulled round the corner.I started walking off asthe van drove past andtook the next corner. Iturned back and got mypaint out just as thesame van pulled up again,having just gone roundthe block. I straightenedup and walked to my caras the cops pulled upvery slowly and stopped20 yards up the road.

l' m pretending to checkpaperwork on the passen­ger seat as the stencil,still taped to the build­ing, flaps in the breezeten feet away, wi th a

full can of paint sat onthe floor in front of it.1'm sitting there forwhat feels like a verylong time trying to workout if the cops saw thestencil as a big salooncar pulls up behind meand out gets Zoe Ball andher driver. He opens herdoor and she goes intothe building.

l' m still watching theriot van when I noticeZoe Ball's driver hascome over and picked upmy can of paint, in­specting it closely. Iturn on my engine as acop finally gets out ofthe van and walks over.

I hear him say "Excuse meSir, can I have a look atthat?" in a patronisingway. The driver SUddenlylooks a bit perturbed. As1'm pulling out he' slaughing nervously andturning out his pockets.

I was at home drawing andlistening to Radio Onelate at night when the djbecame so annoying Igrabbed some paint anddrove to the studios onNew Cavendish Street: l' djust stuck a stencil of arat playing on some turn­tables to the side of thebuilding when a riot vanpulled round the corner.I started walking off asthe van drove past andtook the next corner. Iturned back and got mypaint out just as thesame van pulled up again,having just gone roundthe block. I straightenedup and walked to my caras the cops pulled upvery slowly and stopped20 yards up the road.

l' m pretending to checkpaperwork on the passen­ger seat as the stencil,still taped to the build­ing, flaps in the breezeten feet away, wi th a

full can of paint sat onthe floor in front of it.1'm sitting there forwhat feels like a verylong time trying to workout if the cops saw thestencil as a big salooncar pulls up behind meand out gets Zoe Ball andher driver. He opens herdoor and she goes intothe building.

l' m still watching theriot van when I noticeZoe Ball's driver hascome over and picked upmy can of paint, in­specting it closely. Iturn on my engine as acop finally gets out ofthe van and walks over.

I hear him say "Excuse meSir, can I have a look atthat?" in a patronisingway. The driver SUddenlylooks a bit perturbed. As1'm pulling out he' slaughing nervously andturning out his pockets.

A lot of people never usetheir initiative, becauseno-one told them to.

A lot of people never usetheir initiative, becauseno-one told them to.

I)I.[A!, .' i . "IJIIII 1.11 :R HIJMt:t:r: nt:t-. UBI);\ 2:il :it Hi

DON'T BELIEVE THE TYPE

11\' CHIIJt: t~ ~J.\il()~,.\I.IID'''~ ~.!; j\1,

IIII Doing what you re told is

, i:~~railt~~ :e:enrr:~~. th~~more crimes are corrrnittedin the name of obediencethan disobedience. It' 5those wl10 follow anyauthority blindly who arethe real danger.

I)I.[A!, .' i . "IJIIII 1.11 :R HIJMt:t:r: nt:t-. UBI);\ 2:il :it Hi

DON'T BELIEVE THE TYPE

11\' CHIIJt: t~ ~J.\il()~,.\I.IID'''~ ~.!; j\1,

IIII Doing what you re told is

, i:~~railt~~ :e:enrr:~~. th~~more crimes are corrrnittedin the name of obediencethan disobedience. It' 5those wl10 follow anyauthority blindly who arethe real danger.

People are fond of usingmilitary tenns to de­scribe what they do. Wecall it bombing when we goout painting, when ofcourse it's more likeentertaining the troopsin a neutral zone, duringpeacetime in a countrywi thout an anny.

Why all the bombs?Because it's heal thy tothink about bombs all thetime, because it's diffi­cuIt to get your headround the fact thathumans have the hardwareavailable to make theirentire species extinct.Nobody talks about itanymore but they say thisis why we ve all become sointo money, because atthe back of our minds weall know that atomicbombs have taken ourfuture away from us.

A wall is a veryweapon. It's one ofnastiest things you canhit someone with.

People are fond of usingmilitary tenns to de­scribe what they do. Wecall it bombing when we goout painting, when ofcourse it's more likeentertaining the troopsin a neutral zone, duringpeacetime in a countrywi thout an anny.

Why all the bombs?Because it's heal thy tothink about bombs all thetime, because it's diffi­cuIt to get your headround the fact thathumans have the hardwareavailable to make theirentire species extinct.Nobody talks about itanymore but they say thisis why we ve all become sointo money, because atthe back of our minds weall know that atomicbombs have taken ourfuture away from us.

A wall is a veryweapon. It's one ofnastiest things you canhit someone with.

ONLY THE 1~IIlICLJLOLJS SLJI~VI VEVandalised oil paintings

Urine the money, urine the money Call The Antiques Roadshow, it's a fucking classic

Someone famous once said: "Itlakes two people to make a pieceof art. One person to make the<:1 rt and another person to stopthem from destroying it." Whichi.s more poetic than saying: "ItL kes two people to make a pieceo ( art. One person to make thedrt and another person to comeround later from the council and::;and-blast it off."

ONLY THE 1~IIlICLJLOLJS SLJI~VI VEVandalised oil paintings

Urine the money, urine the money Call The Antiques Roadshow, it's a fucking classic

Someone famous once said: "Itlakes two people to make a pieceof art. One person to make the<:1 rt and another person to stopthem from destroying it." Whichi.s more poetic than saying: "ItL kes two people to make a pieceo ( art. One person to make thedrt and another person to comeround later from the council and::;and-blast it off."

"Only when the last tree has been cut down and the lastriver has dried up will man realise that reciting redindian proverbs makes you sound like a fucking muppet"

_------------------, <1"'< Hggrt

~~~~~1:­

~ ~ §.0. ~ ~.... f.I.

<1"g:'(j0. "g~H~.. ~ ~<1"

~Uiil!q~ f~~o.tL- ..........

EVEln PICTlJl~E TELLS A LIE

"Only when the last tree has been cut down and the lastriver has dried up will man realise that reciting redindian proverbs makes you sound like a fucking muppet"

_------------------, <1"'< Hggrt

~~~~~1:­

~ ~ §.0. ~ ~.... f.I.

<1"g:'(j0. "g~H~.. ~ ~<1"

~Uiil!q~ f~~o.tL- ..........

EVEln PICTlJl~E TELLS A LIE

ZEN AND THE AIH OF IvllNDLESS VANDALISM

Every time I hear the word culture I release

Lying to policemen is never wrong

Wi' came out of a pub one111<Jht arguing about how".l:;¥ it would be to hold.Ill exhibition in Londonwi l hout asking for any­1111(15 permission. As wew, Il ked through a tunnelI 11 shorediteh someonetl id: "You're wasting

Yllllr time, why would youW,lJlL to paint pictures in

I dump like thi~?"

1\ \-Jeek later we came backt u the same tunnel with! wo buckets of paint andI letter. The letter wasI Corged invoice from a

mickey mouse Arts org­III isation wishing us luck

wi Lh the 'Tunnel VisionlIlural project'. We hungIII' some decorators signsII ieked off a building'I i te and painted thewd.lls white wearing Qver­'Ills. We got the artworkliP in twenty five minutes,llId held an opening partyIdLer that week withIx'ers and some hip hopIlumping out the back of aI I dnsit van .

.'i; x months later someoneknecked a hole in the wall.Ind built a superclub inI tIC middle of the piece.I f I had a pound for everyI i me that happened.

DDCJDD·:OOODOOO\\

"

,~~ " - .'. ~,.. . ~ .~-- -- - .,..,.....

ZEN AND THE AIH OF IvllNDLESS VANDALISM

Every time I hear the word culture I release

Lying to policemen is never wrong

Wi' came out of a pub one111<Jht arguing about how".l:;¥ it would be to hold.Ill exhibition in Londonwi l hout asking for any­1111(15 permission. As wew, Il ked through a tunnelI 11 shorediteh someonetl id: "You're wasting

Yllllr time, why would youW,lJlL to paint pictures in

I dump like thi~?"

1\ \-Jeek later we came backt u the same tunnel with! wo buckets of paint andI letter. The letter wasI Corged invoice from a

mickey mouse Arts org­III isation wishing us luck

wi Lh the 'Tunnel VisionlIlural project'. We hungIII' some decorators signsII ieked off a building'I i te and painted thewd.lls white wearing Qver­'Ills. We got the artworkliP in twenty five minutes,llId held an opening partyIdLer that week withIx'ers and some hip hopIlumping out the back of aI I dnsit van .

.'i; x months later someoneknecked a hole in the wall.Ind built a superclub inI tIC middle of the piece.I f I had a pound for everyI i me that happened.

DDCJDD·:OOODOOO\\

"

,~~ " - .'. ~,.. . ~ .~-- -- - .,..,.....

I'm walking home at 7amafter a night doing loadsof damage when I turnedthe corner onto my streetand see a police carparked directly oppositemy house on the garageforecourt. I look strai~ht

ahead and keep walkingbut just as I get to thegate I see the blue lightsstart flashing and thesiren goes off. I panic,

tllOP the stencils andI tlrn to run. When I lookI )( I (' k I see the beamingII lr'(' of a mechanic behind\ 11(' wheel, flashing me aIII q Jamaican smile as he\ 111 I1S the siren on and offIII jt! in. I stand there asII 1!1 boss comes out of the!jill t\ge and tells him toI-,Hock it off, but thelhltll ard is still laughingIII ITlC'.

I'm walking home at 7amafter a night doing loadsof damage when I turnedthe corner onto my streetand see a police carparked directly oppositemy house on the garageforecourt. I look strai~ht

ahead and keep walkingbut just as I get to thegate I see the blue lightsstart flashing and thesiren goes off. I panic,

tllOP the stencils andI tlrn to run. When I lookI )( I (' k I see the beamingII lr'(' of a mechanic behind\ 11(' wheel, flashing me aIII q Jamaican smile as he\ 111 I1S the siren on and offIII jt! in. I stand there asII 1!1 boss comes out of the!jill t\ge and tells him toI-,Hock it off, but thelhltll ard is still laughingIII ITlC'.

III I LOVE THE SMELL OF VANDALISM EAI~LY IN THE Ivl()\~NING

A beginners topainting with stencils• Draw or copy your imageon a piece of paper.• Glue the paper onto abit of card using goodglue.• Cut straight throughdrawing and card at thesame time using a verysharp knife. Snap offblades are best. Thesharper your knife thebetter the stencil looks.As the Grim Reaper said tohis new apprentice: "Youmust learn the compassionsuit"able to your trade ­a fucking sharp edge."• Ideal card should beabout 1.5mm thick - muchfatter and it' s toodifficult and boring tocut through. Any thinnerand it gets sloppy tooquick.• Find an unassum~ng

piece of card as a folderto hold your stencil inand leave the house

before yousomething morecomfortable you eoud bedoing.• Get a small roll ofgaffa tape and pre-tearsmall strips ready toattach stencil to thewall.• Shake and test can ofpaint before you leave.Cheap British paint isfine but some brands

bleed more thanMatt finish comes outbetter and dries quicker.• Apply paint sparingly.• Wear a hat. .• Move around the cityquickly. Acting like asad- old drunk if youattract attention..Pace yourself and repeatas often as you feel in­adequate and no-one list­ens to a word you say.

III I LOVE THE SMELL OF VANDALISM EAI~LY IN THE Ivl()\~NING

A beginners topainting with stencils• Draw or copy your imageon a piece of paper.• Glue the paper onto abit of card using goodglue.• Cut straight throughdrawing and card at thesame time using a verysharp knife. Snap offblades are best. Thesharper your knife thebetter the stencil looks.As the Grim Reaper said tohis new apprentice: "Youmust learn the compassionsuit"able to your trade ­a fucking sharp edge."• Ideal card should beabout 1.5mm thick - muchfatter and it' s toodifficult and boring tocut through. Any thinnerand it gets sloppy tooquick.• Find an unassum~ng

piece of card as a folderto hold your stencil inand leave the house

before yousomething morecomfortable you eoud bedoing.• Get a small roll ofgaffa tape and pre-tearsmall strips ready toattach stencil to thewall.• Shake and test can ofpaint before you leave.Cheap British paint isfine but some brands

bleed more thanMatt finish comes outbetter and dries quicker.• Apply paint sparingly.• Wear a hat. .• Move around the cityquickly. Acting like asad- old drunk if youattract attention..Pace yourself and repeatas often as you feel in­adequate and no-one list­ens to a word you say.

L

130MB IvllDDLE ENGLAND

People who get up early in themonung cause war, death and famine.

L

130MB IvllDDLE ENGLAND

People who get up early in themonung cause war, death and famine.

IIWeston Super Mare "It' 5 a little bit embarrasing to have been concerned

with the human problem all one's life and find at theend that one has no more to offer than 'Try to be aIi ttle kinder I • II

Aldous Huxley

IIWeston Super Mare "It' 5 a little bit embarrasing to have been concerned

with the human problem all one's life and find at theend that one has no more to offer than 'Try to be aIi ttle kinder I • II

Aldous Huxley

II Y()LJI~ LETTEI~S

interested to know wehad the police herelast week because aneighbour was burgledand I asked them whatthey think of yourstuff. One said hethought that stick manon the s ide of thepolice station wasfunny and they hopethey don't catch you.All the best

BanksyI read in Level maga­zine that you aretrying to etch grafi ttiinto limestone but wereunsure of how to do it.T did a little workwith steel plateetching, we would use alaquer to coat the backof the plates to stopthem dissolving. Thiscould then be removedwith meths. The acid weused was about 20%nitric acid, but anyreasonably strong acidshould do the trick,ie pickling vinegar ...

Ed, School of Ilr--:-::------------­Chemistry, University EIDails should be sent to:

of Bristol Banging your head against d bllr'k wdll, VII! 1 I .1, III II. I ttl til' '11",,1 IIl'OP!p oCBrist~l. Additionally~ics by Mlkl' 'I'VI'I, I.IVtllll flV,1I '1'111 , Ij 1'1I'11'"Il,lllIlV hy !itcveLazar~des. Further cop~es avtlildllln Ittlln 'I Itt tId 1""1~ dll"1 I. www.t •. nll... IV.t·O.lIk

Andy

what we were antici­pating. As I haveexplained previouslynothing of an offensiveor overtly politicalnature sits comfortablywi th the XXXXXXX brandimage. Al though we areaiming at a more 'edgy'feel in this campaignthe images he suppliedare entirely unsuit­able. I regret to saymyself and XXXXXXXXfeel there is littlepoint in continuing toseek Banksy' s contri­bution to the rest ofthe campaign. Pleasenote that the agreeddesign fee, will not bereleased until all out­standing artwork relat­ing to this project issubmitted to ouroffice. Best wishes' forthe future

Yes Banksy,Just a quick note tosay thanks for all tl:lepictures. I live inMontpelier and we havetwo of your pieces atthe end of our street.Thought you might be

xxxxxxxx

Dear XXXXXXXWe received the artworkroughs from your clientBanksy today with somedisapointment. He doesnot appear to haveunderstood the projectbrief which we suppliedto you and his ideasfall somewhat short of

BanksyI first became aware ofyour work throughsleazenation and thatbusta rhymes cover. Iwould be grateful ifyou could tell me whereelse I can catch anyother pieces of yourwork in shoreditch orthe rest of london.I have just startedwork as a car parkattendant, night shiftin swiss cottage. Thecar park is XXXXXXXXand is partially under­ground. There are a lotof crappy tags butthere is great scope todo something there. Iam only working therefor another six weeksso if you areinterested mail me.

Lexbudda

Mindless authorityfigures in operation

But you already muggedme once f back there ten

minutes ago

Bacon butty served here Kill Gary Glitter

II Y()LJI~ LETTEI~S

interested to know wehad the police herelast week because aneighbour was burgledand I asked them whatthey think of yourstuff. One said hethought that stick manon the s ide of thepolice station wasfunny and they hopethey don't catch you.All the best

BanksyI read in Level maga­zine that you aretrying to etch grafi ttiinto limestone but wereunsure of how to do it.T did a little workwith steel plateetching, we would use alaquer to coat the backof the plates to stopthem dissolving. Thiscould then be removedwith meths. The acid weused was about 20%nitric acid, but anyreasonably strong acidshould do the trick,ie pickling vinegar ...

Ed, School of Ilr--:-::------------­Chemistry, University EIDails should be sent to:

of Bristol Banging your head against d bllr'k wdll, VII! 1 I .1, III II. I ttl til' '11",,1 IIl'OP!p oCBrist~l. Additionally~ics by Mlkl' 'I'VI'I, I.IVtllll flV,1I '1'111 , Ij 1'1I'11'"Il,lllIlV hy !itcveLazar~des. Further cop~es avtlildllln Ittlln 'I Itt tId 1""1~ dll"1 I. www.t •. nll... IV.t·O.lIk

Andy

what we were antici­pating. As I haveexplained previouslynothing of an offensiveor overtly politicalnature sits comfortablywi th the XXXXXXX brandimage. Al though we areaiming at a more 'edgy'feel in this campaignthe images he suppliedare entirely unsuit­able. I regret to saymyself and XXXXXXXXfeel there is littlepoint in continuing toseek Banksy' s contri­bution to the rest ofthe campaign. Pleasenote that the agreeddesign fee, will not bereleased until all out­standing artwork relat­ing to this project issubmitted to ouroffice. Best wishes' forthe future

Yes Banksy,Just a quick note tosay thanks for all tl:lepictures. I live inMontpelier and we havetwo of your pieces atthe end of our street.Thought you might be

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Dear XXXXXXXWe received the artworkroughs from your clientBanksy today with somedisapointment. He doesnot appear to haveunderstood the projectbrief which we suppliedto you and his ideasfall somewhat short of

BanksyI first became aware ofyour work throughsleazenation and thatbusta rhymes cover. Iwould be grateful ifyou could tell me whereelse I can catch anyother pieces of yourwork in shoreditch orthe rest of london.I have just startedwork as a car parkattendant, night shiftin swiss cottage. Thecar park is XXXXXXXXand is partially under­ground. There are a lotof crappy tags butthere is great scope todo something there. Iam only working therefor another six weeksso if you areinterested mail me.

Lexbudda

Mindless authorityfigures in operation

But you already muggedme once f back there ten

minutes ago

Bacon butty served here Kill Gary Glitter