Banksy, ‘Forgive Us Our Trespassing’, 2010, EHC Fine Art: Essential Editions IV
Banksy, ‘Forgive Us Our Trespassing’, 2010, EHC Fine Art: Essential Editions IV

In 2010 Banksy produced Forgive Us Our Trespassing, a stenciled image of a boy kneeling in prayer and asking for forgiveness from God for defacing a wall. To promote the premiere of his film, “Exit Through the Gift Shop,” which was featured in the Sundance Film Festival.

In this work an innocent boy wearing a baseball cap is featured in black and white, and in front of him is a brush and can with paint. In this work Banksy, represented by the boy, reveals his mixed feelings about being a graffiti artist. He acknowledges the concerns of those who see his work as vandalism, but he conveys that he ultimately means well.

This image was released as a insert poster for the magazine Don't Panic in 2010 and comes folded in its original envelope from Don't Panic which can help provide proof of authenticity. Banksy's signature is printed with the image on the lower right.
--Courtesy of EHC Fine Art

Publisher: Don't Panic

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