Banksy’s Slave Labour

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Slave Labour is a mural that was painted by a British graffiti artist, Banksy, on the side wall of a Poundland store in Wood Green, London in May 2012. The artwork is 48.03 inches (122 cm) high by 59.84 inches (152 cm) wide,and depicts an urchin child at a sewing machine assembling a bunting of Union Jack patches (Source: Anon nd, np link).

On the side of a branch of Poundland (a British variety chain known for selling many items at the price of £1), it depicts a small indigent child kneeling over a sewing machine assembling a patch of the Union Jack, the national flag of England. Stores with such prices often employ illicit labor practices, a point Banksy drives home with his poignant image (Source: Brenner 2019, 35).

[It is] widely considered to be a critique of the Queen’s Diamond Jubilee celebrations (Source: BBCTV News 2013, 15.26).

Slave Labour was originally placed on the side of a Poundland discount store building in North London (Poundland is the largest discount retailer in Europe). At the time, the store was heavily stocked with Jubilee merchandise, some of which – the plastic Union Jack ‘bunting’ emerging from the boy’s sewing machine – formed part of the original piece, before the local residents stripped it bare. This ‘product placement’ draws attention to the conditions of production of these disposable nationalistic icons … Slave Labour’s in situ location, and three-dimensional bunting, implicates the Poundland store and its customers. The precise placement of the work recalls a high-profile public scandal over Poundland’s involvement in child sweatshop labour after a boy of seven was found to be working 100 hours a week, for just 7p an hour, in an Indian sweatshop that produced goods for the store (Source: Hansen & Flynn 2015, 901).

High Street shopping chain Poundland is launching an inquiry after a boy of seven was found to be working 100 hours a week in an Indian sweatshop producing goods for the store. The child, known as Ravi, was reportedly earning just 7p an hour to make napkin rings … working and sleeping in the sweatshop in Delhi…“Poundland does not tolerate child labour under any circumstances and will not work with companies that employ children”, a spokesman said (Source: Mail Foreign Service 2010, np link).

In the run up to the Queen’s Diamond Jubilee, the company [Poundland] sold an astonishing 2,500 miles of bunting (Source: Wallop 2012, np).

Banksy’s street art is marked by dark humour, controversial images and not-so-subtle political statements. His works often mock society but are also usually open to interpretation. In this sense, the majority of his pieces can be viewed as promoting social change. Using a unique and recognizable stenciled style, his graffiti and the occasional statue have been shocking the modern art world. Each of his works are left in hidden places, often found by passersby in strange and secluded locations. No matter the placing or content of his works, each depicts controversial political messages, alluding to very specific aspects of modern society Banksy seems to think are deserving of society’s attention … His signature graffiti style seeks to shock and galvanize a seemingly dormant public into realizing and addressing largely ignored social and political issues; however, it is not just the art itself, but the form of his work, that aims to inspire change (Source: Brenner 2019, 35).

In February 2013, Slave Labour was removed from the wall for private auction leaving the outline of the space occupied by the original work visible as a raised rectangular seam. Protests were held at the site of removal, with residents brandishing signs that read ‘Bring back our Banksy’. These protests were grounded in the community’s originally recognised claim over the work as belonging in – and to – its community of origin (Source: Hansen & Flynn 2016, 108) .

A Poundland spokesman said the retailer enjoyed Banksy’s art and said suppliers met ethical guidelines. Curious passers-by have been scrutinising the stencilled image, which was adorned with real bunting (Source: Anon 2012, np link).

It’s a work of art, so of course I enjoy it. It will probably put house prices up in the area – that’s what has happened in areas where he has been before. I don’t see why anyone should object – all it means is the area has arrived. He isn’t attacking the area he is attacking the businesses in the area which exploit people in sweatshops (Source: James Longshaw in Leigh 2012, np link).

[D]espite the abundance of Jubilee-related paraphernalia, advertising and street decorations in London at the time of the work’s materialization, most of the media commentary was not overly concerned with what the work may have been intended to critique or signify but was rather initially restricted to a discussion as to whether or not it was ‘a genuine Banksy’… Similarly, the media coverage of the later ‘theft’ of this work was largely contained to canvassing the community’s protest at its removal for auction in America and speculation as to the agents responsible for the work’s removal…When Slave Labour was removed from the wall for private auction, the local community, represented by MP Lynne Featherstone, was vocal in asserting community ownership of, and rights to the work. It was described as a gift to the community to whom, and where, it should be considered to rightfully belong (Source: Hansen & Danny 2015, 900).

Labour Councillor Alan Strickland: ‘The piece, called Slave Labour, was a bit of a cheeky critique of capitalism, so the idea that that piece is now being sold in Miami, I think runs completely counter to the spirit in which it was given’ (Source: Where the Wall – Street Art, Graffiti and Culture 2013, np link).

There was more comment on whether or not this was a genuine Banksy than a genuine depiction of the realities of today’s bargains, but the store refuted any connection to its own dealings. Unfortunately, ethical choices rarely come at a discounted price … and you’re unlikely to find Fairtrade products because of the premium paid for the commodity that goes back to the producer community. A 2008 study by Ethical Consumer said the occasional ‘good’ product on the shelves of Netto, Lidl or Aldi shouldn’t be ‘mistaken for evidence of ethical behaviour’ (Source: Siegle 2012, np link).

The removal of Banksy’s work has raised questions over the preservation and ownership of public art. Property lawyers believe the owner of the building would be entitled to sell the mural. ‘The local authority can’t really do much, except try and get the building listed or get English Heritage involved,’ said Daniel Levy, real estate partner at Mishcon de Reya … The site of the missing Banksy has been plastered over, and now features a stencilled rat holding a sign asking ‘Why?’. Referring to the new stencil, solicitors for the building’s owner said their client was ‘taking steps to secure this and will be asking Haringey council to take responsibility for the costs of such security’. A council spokesman said: ‘There’s nothing to suggest this latest stencil is an authentic Banksy, although we would be happy to discuss security concerns with the owners’ (Source: Batchelor 2013, np).

Another stencil, this time emulating the design of Slave Labour, was added to the wall the following week. However, instead of producing cut-price jubilee bunting, the figure at the sewing machine now produces American dollars, which spew out from the machine onto the pavement in a three-dimensional pasted paper overflow. The only major difference between Slave Labour and this new stencil is that the boy’s head has been replaced by an oversized nozzle of a spray can, which identifies the piece as being work by the local street artist Cap Head. This work appears to provide further commentary on the complicit nature of commercially successful street artists in ‘selling out’ … Five polystyrene replicas of Slave Labour were placed in a row against the site of extraction at 5.30 am on 1 June 2013, the morning of the London auction of Slave Labour. These new pieces are the work of Essex-based artist Laura Keeble, and are entitled Supply & Demand (After Banksy’s Slave Labour). These three-dimensional pieces have been produced in the exact proportions of Banksy’s original Slave Labour (Source: Hansen & Danny 2015, 906).

Slave Labour was offered for sale at Julien’s Auctions in Los Angeles on Wednesday and was purchased by [Ron] English who is protesting against the commodification of street art, that is art being bought and sold after it has been legally removed by the site owners and then put up for auction. ‘My idea for this painting is to whitewash it for my good pal Banksy, I only wish I could’ve spent more money on it. I’m done. This is a blow to street art. It shouldn’t be bought and sold. ‘I’m going to paint over it and just include it in one of the walls in my house. We’re tired of people stealing our stuff off the streets and re-selling it so I’m just going to buy everything I can get my hands on and whitewash it’ (Source: Anon 2018, np link).