The police figure is one of the most frequent motifs in Banksy’s street art, serving as a powerful symbol of his critique of authority, rules, and societal norms. Banksy’s relationship with the police is complex, as his art is illegal. Working in secret to avoid capture, Banksy’s police figures draw from both his personal experiences and his political stance. He once said, “The greatest crimes in the world are not committed by people breaking the rules but by people following the rules,” expressing a profound truth.

This complicated relationship with the police is evident in his artwork. An incident with the police in his youth inspired him to start using the stencil technique. Legend has it that while fleeing from the police one night, Banksy hid under a truck and noticed a stenciled license plate on the fuel tank. This moment revealed to him that stencils were both a quick method and a way to reduce the risk of getting caught. Stencils also carry political significance. Historically, they have been used to ignite revolutions and promote peace during conflicts. Banksy employs this technique to challenge authority while transforming his art into a tool of political resistance.

Banksy’s police figures carry multiple layers of meaning: The police symbolize state authority and rules. Banksy uses these figures to critique the oppressive nature of authority and the dangers of blindly following rules. For him, the police represent a force that restricts individual freedom. He often depicts police figures in unexpected and satirical ways, questioning the seriousness and power of authority. This humorous approach invites viewers to look at authority from a different perspective.

“The Greatest Crimes in the World Are Not Committed by People Breaking the Rules but by People Following the Rules”
This idea reflects the core of Banksy’s critique of authority. Works like Snorting Copper, Pissing Soldier, and Kissing Coppers ironically question the seriousness and power of authority. In Snorting Copper, a police officer snorting cocaine shows that authority can also commit crimes; in Pissing Soldier, a urinating soldier mocks the absurdity of militarism. Kissing Coppers breaks the rigid image of the police, challenging societal taboos.

Banksy’s humorous and ironic approach encourages viewers to question authority and consider who rules truly benefit.

Banksy’s Police
Kissing Coppers, 2004, Brighton
Snorting Copper, 2002, London
Pissing Soldier, 2002, London
Flying Copper, 2003, London
Basquiat Welcomed by the Metropolitan Police, Barbican Center, 2017
Stop and Search, 2007, London
Fuck The Police, 2000
You Told Me That Joke Twice, 2000
Avon and Somerset Constabulary, 2000
Rude Copper, 2002
SWAT Van, 2006
The Battle of the Beanfield, 2009