Therefore, one of the mysteries of our world seems to have been revealed: an investigation conducted by the international news agency Reuters has ascertained that behind the elusive Banksy, the most famous and edgy street art artist in the world, lies Robin Gunningham, a graffiti artist born in Bristol in 1973 and who, later, took the name of David Jones.
The discovery is said to be the result of a detailed and meticulous journalistic investigation that combined field testimonies, video analysis and a careful examination of the movements of the elusive English artist, starting from a series of works that appeared in Ukraine at the end of 2022: a fundamental characteristic of Banksy has always been to create works of the highest civil commitment in the “hottest” places. The investigation would have begun there, where the graffiti had appeared, and according to Reuters reporters a series of clues would lead to Gunningham, whose name had been mentioned by the Daily Mail already in 2008. Even if the artist’s manager had denied everything. And it seems that, following this, Banksy took on another name: David Jones. Reuters would also have highlighted Banksy’s relationship with Robert Del Naja, frontman of the band Massive Attack, who for a long time was considered a possible “Banksy”.
But today we cannot help but ask ourselves: is such investigative zeal useful to us? Is there any point in using time and resources to reveal the identity of an artist who has always based part of his very powerful message on his anonymity, on the unknowability of the creator in favor of the impact of the work? Especially in the era of hypercommunication and the dictatorship of the image: in his obstinate evasion, to let only the surprise of the work speak, which was lit up in the most “sensitive” places and moments, there was a further criticism of that world that every one of his drawings, every one of his brilliant ideas “scratches” with great force.
Our colleagues at Reuters may have made a scoop if it is confirmed, but this does not make us – as should happen with scoops that illuminate mysteries and dispel shadows in our world – stronger, more aware, more informed. And it adds nothing at all to that powerful art, a true weapon against weapons. Indeed, he tries to take something away from it, bringing onto the stage those who wanted to stay away from it, and letting only the drawings and ideas speak. The scratches.