Banksy, ‘Bomb Love’, 2004, Julien's Auctions
Banksy, ‘Bomb Love’, 2004, Julien's Auctions

Banksy’s two-color screenprint Bomb Love, commonly referred to as “Bomb Hugger”, is emblematic of his witty aesthetic that uses creative juxtapositions to make humorous commentaries on society at large. The stencil depicting a young girl in a black dress tenderly clutching a bomb as if it were a teddy bear was originally placed on an East London wall. In a not so subtle nod to the irony and devastation of war, Banksy has repeatedly executed this stencil throughout London. Recently, Banksy drew much attention for his Dismaland installation, which took the form of a massive post-apocalyptic theme park in western England.

Property from a Private Canadian Collector

About Banksy

Whether plastering cities with his trademark parachuting rat, painting imagined openings in the West Bank barrier in Israel, or stenciling “We’re bored of fish” above a penguins’ zoo enclosure, Banksy creates street art with an irreverent wit and an international reputation that precedes his anonymous identity. “TV has made going to the theatre seem pointless, photography has pretty much killed painting,” he says, “but graffiti has remained gloriously unspoilt by progress.” Banksy has gained his notoriety through a range of urban interventions, from modifying street signs and printing his own currency to illegally hanging his own works in institutions such as the Louvre and the Museum of Modern Art. Most often using spray paint and stencils, Banksy has crafted a signature, immediately identifiable graphic style—and a recurring cast of cops, soldiers, children, and celebrities—through which he critically examines contemporary issues of consumerism, political authority, terrorism, and the status of art and its display.

British, Bristol, United Kingdom