BANKSY // Painting For A Sound System Lorry, 1998

  • In 1998, Banksy joined Inkie and 3D (Robert del Naja of Massive Attack) at Glastonbury Festival, transforming a DJ friend’s...
    Banksy, Painting for a Sound System Lorry, 1998.
    Spray enamel on metal panel, in three parts, 102 × 193 cm. Tagged “BANKSY” lower left of the middle panel.
    © Banksy.
    In 1998, Banksy joined Inkie and 3D (Robert del Naja of Massive Attack) at Glastonbury Festival, transforming a DJ friend’s lorry parked beside the Dance Tent into a massive canvas. The piece, Painting for a Sound System Lorry, carried Banksy’s trademark blend of humour and critique, reflecting on faceless authority and mass distraction. Even in this early work, he merged popular culture with Orwellian undertones, referencing films like Pulp Fiction and Apocalypse Now to challenge systems of control.
     
    Preserved when the lorry was scrapped, the triptych remains one of the rare outdoor works approved for resale by the artist. It captures a pivotal moment when Banksy’s anti-establishment satire was moving from the streets of Bristol into wider cultural consciousness. The same anti-authoritarian themes that shaped this work would later resonate in films like The Matrix and in his collaborations with Damon Albarn, who invited Banksy to design Blur’s Think Tank album cover in 2003.
     
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  • "The greatest crimes in the world are not committed by people breaking the rules but by people following the rules." 

    - Banksy 

    At Glastonbury Festival in 1998, Banksy, alongside Inkie and 3D of Massive Attack, turned a DJ’s lorry into a bold statement piece. The sprawling triptych fused music, counterculture, and satire, reflecting on authority and mass distraction. Preserved after the lorry’s scrapping, it stands as one of the few outdoor works approved for resale, marking a key step in Banksy’s rise from Bristol’s underground to international recognition.
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