Banksy's thought-provoking mural titled 'Valentine's Day Mascara', originally conceived as a poignant commentary on the issue of domestic violence, is poised to enter a unique chapter in its existence. The mural, which initially showcased a woman wearing a 1950s-style gingham dress with a visibly bruised eye, seemingly discarding her abusive husband within a large chest freezer – his legs protruding from the appliance – is now on the brink of being made accessible to the public for ownership through an innovative financial model.
The irony of the situation would not be lost on Banksy himself, for the mural that was initially offered as a piece of public art in the heart of Margate on Valentine's Day is now being offered back to the public, albeit in a different form. The opportunity for individuals to purchase shares of the mural for £120 each adds an intriguing layer to the artwork's narrative.
An intrinsic part of the mural's story lies in its ongoing engagement with social causes. A substantial six-figure sum has been committed to the Margate-based charity Oasis, which is dedicated to aiding victims of domestic abuse. In addition, a notable portion of the proceeds generated from the sale will be channeled towards the UK domestic violence charity Refuge, further enhancing the mural's significance in its poignant message against domestic violence.
The valuation of the 'Valentine's Day Mascara' mural is estimated at a noteworthy £6 million, as assessed by Robin Barton of Bankrobber gallery, renowned for his expertise in dealing with Banksy's artwork. The sale, orchestrated by Showpiece, an online marketplace, will encompass 27,000 shares available for purchase across multiple drops, each priced at £120. This distinctive financial structure offers individuals an opportunity to collectively own a piece of art that holds both artistic and socio-cultural value.
The mural's relocation and preservation also contribute to the multi-faceted story that surrounds it. Since June, the artwork has been temporarily displayed at Dreamland Margate, and plans have been set for it to remain exhibited at this location for at least two years. This collaborative effort to safeguard and share the mural showcases a harmonious intersection between public art and private ownership, generating wider access while respecting its artistic integrity.
The journey of the 'Valentine's Day Mascara' mural has been marked by the dedication and collaboration of various individuals and organizations. Julian Usher, the CEO of Red Eight Gallery, played a pivotal role in orchestrating the mural's transition from its original public space to its current trajectory. Despite the challenges stemming from the absence of authentication by Banksy's studio, the mural's significance has not waned within the art market. The creation of a distinct company, Banksy VDM, to hold the mural's shares emphasizes the innovative approach taken to navigate this unique art transaction.
While the sale of a mural back to the public might seem paradoxical, the fractional ownership model presents an inventive solution that marries financial viability with artistic preservation. Julian Usher acknowledges the pioneering nature of this endeavor and the potential outcomes, stating, "We're in a slightly unusual world, this has never been done before. It could be a complete flop, it might sell out in three weeks."
In addition to its potential financial success, the sale aligns with a larger aspiration – to transform the mural from a transient street art piece into a lasting art installation. The shift from ephemeral graffiti to a cherished attraction that contributes to the local economy mirrors the evolving relationship between art, ownership, and public engagement.
Selena Mattei