The removal in February 2013 in secret of a wall mural in North London attributed to the acclaimed British street artist Banksy has been the subject of much controversy. The mural entitled ‘Slave Labour’ was sliced off a wall in the North London suburb of Wood Green to the disappointment of local residents. To add to their consternation, the mural resurfaced later that same week for sale in an online auction site in the US for the princely sum of $500 000 US. The sale of the mural was called off at the last moment in response to the vehemence of the public outcry voiced by Alan Strickland, the Councillor for Wood Green.
During its time in Wood Green, ‘Slave Labour’, which was protected by a Perspex screen, was part of a ‘Banksy Tour of London’ and attracted interest from fans all over the capital. The mural first appeared in May 2012, before the Diamond Jubilee in June, on the side of a Poundland store located on the Wood Green High Road.
‘Slave labour’ depicts the poignant image of a young boy producing celebratory Union Jack bunting at a sewing machine, alluding to the exploitative manufacture of cheap decorations by child labour in sweatshops. Poundland has refuted the reference, confirming that its products are ethically sourced. In the wake of the recent horsemeat scandal in Britain and Europe which also highlights a weakness in the supply chain, the relevance of this mural has been heightened.
Like graffiti artists, street artists often work illegally, painting on the walls of privately owned property without seeking permission first, in a bid to to ‘reclaim the streets’. Street art is designed to mirror the effect of our fast paced contemporary consumer culture. Street art is experienced in an instant as you walk past and the memory is as fleeting as a whisper, soon to be forgotten.
Banksy’s ‘Slave Labour’ reflects his anti capitalist position and he points at the exploitation which is the flip side to our ever growing desire for cheap goods available in bargain stores such as Poundland, which are cashing in on the recession. Street art provides a platform for artists to share such views and engage with the wider community, beyond the confines of a gallery space. The idea is that street art is democratic because it is accessible to everyone, and belongs to the people, not just to the elite.
And herein lies the irony because Banksy’s paintings have themselves become valuable commodities. Due to his impressive international reputation, Banksy’s work is much sought after by art collectors who are willing to pay prohibitive sums of money for the right of ownership to his paintings.
The auction house based in Miami which was handling the sale of ‘Slave Labour’ claims that the mural was obtained legally with the permission of the owner of the wall. It is argued that removing the mural from the street negates its original context because, contrary to the spirit of the artwork, it no longer belongs to the people. This emphasises the lack of consideration and sensitivity involved in extracting ‘Slave Labour’ which equates to robbing the local community.
In light of the loss to Wood Green and its residents, Councillor Alan Strickland has continued his campaign for the return of ‘Slave Labour’ to its rightful location. In the meantime various pieces of graffiti and street art have appeared in the empty space and one other entitled ‘Why’ has been attributed to Banksy himself, as his response to the saga. But the subtle message of ‘Slave Labour’ has yet to be replicated leaving behind in its place a wide spiritual vacuum.
