Commissioned by The Curtain in London—now the Mondrian Shoreditch—and produced through Steve Lazarides, Banksy’s longtime agent, this print on wood was never meant to be quiet décor.
The image itself plays like a visual contradiction. A casually dressed woman mid-stride, shopping bag in hand, moves forward while a small squad of mini armed soldiers protect her every move. It’s cinematic and slightly absurd in the best possible way.
Created on a thick wood panel with a clean, gallery-style presence, it has the weight and depth you want from something that was designed to anchor a room. The top edge shows four screw marks from its original install—small reminders of its previous life in hotel suites. Minor wear throughout, nothing distracting, just the kind of honest handling that comes from being lived with rather than stored away.
At 39.5 inches wide, 27.5 inches high, and 2 inches deep, it reads immediately from across the room but holds up just as well up close.
A hotel commission, yes—but more like a snapshot of a moment when street art, hospitality, and a certain London attitude briefly shared the same wall.
Steve Lazarides
Steve Lazarides came up through London’s gritty 1990s photo scene, shooting nightlife, street culture, and the kind of moments most people missed. He’s best known as Banksy’s early manager and photographer, helping take an anonymous street artist from walls and alleyways into galleries, books, and eventually the global stage.
Lazarides had a sharp instinct for presentation—he understood how to frame rebellion without sanding off its edge. After parting ways with Banksy around 2009, he continued curating, publishing, and championing urban and contemporary art through Lazarides Editions and his galleries. His legacy sits right at that pivot point where street art stopped being temporary and started being collectible.
Commissioned by The Curtain in London—now the Mondrian Shoreditch—and produced through Steve Lazarides, Banksy’s longtime agent, this print on wood was never meant to be quiet décor.
The image itself plays like a visual contradiction. A casually dressed woman mid-stride, shopping bag in hand, moves forward while a small squad of mini armed soldiers protect her every move. It’s cinematic and slightly absurd in the best possible way.
Created on a thick wood panel with a clean, gallery-style presence, it has the weight and depth you want from something that was designed to anchor a room. The top edge shows four screw marks from its original install—small reminders of its previous life in hotel suites. Minor wear throughout, nothing distracting, just the kind of honest handling that comes from being lived with rather than stored away.
At 39.5 inches wide, 27.5 inches high, and 2 inches deep, it reads immediately from across the room but holds up just as well up close.
A hotel commission, yes—but more like a snapshot of a moment when street art, hospitality, and a certain London attitude briefly shared the same wall.
Steve Lazarides
Steve Lazarides came up through London’s gritty 1990s photo scene, shooting nightlife, street culture, and the kind of moments most people missed. He’s best known as Banksy’s early manager and photographer, helping take an anonymous street artist from walls and alleyways into galleries, books, and eventually the global stage.
Lazarides had a sharp instinct for presentation—he understood how to frame rebellion without sanding off its edge. After parting ways with Banksy around 2009, he continued curating, publishing, and championing urban and contemporary art through Lazarides Editions and his galleries. His legacy sits right at that pivot point where street art stopped being temporary and started being collectible.
