Signed BANKSY in the stencil. A very early example of the BANKSY tag. LITERATURE – Listed in the ‘Catalogue Raisonne of Banksy’s Street Art’, under No T. 574. Depicted. Not...
Signed BANKSY in the stencil. A very early example of the BANKSY tag.
LITERATURE
– Listed in the ‘Catalogue Raisonne of Banksy’s Street Art’, under No T. 574. Depicted. Not yet published.
– ‘Cider Genetics’ depicts a bull preparing to charge, his head poised menacingly. Wrapped around him is a monochrome rainbow and underneath him is the text ‘Banksy Cider Genetics’. This early stencil was used extensively by Banksy in and around the city of Bristol in 1999, and is believed to be the only survivor from that early ‘Cider Genetics’ street series.
Banksy "The Early Shows" 1992-2005 by Ulrich Blanché. Page 76. See photo.
Banksy’s Cider Genetics is a striking piece of art that combines the artist’s characteristic blend of political commentary, irony, and visual subversion. Like much of Banksy’s work, it tackles societal issues through a visual medium that is accessible to a wide audience, using simple yet powerful imagery to evoke critical thought and reflection.
The title, Cider Genetics, alludes to the process of producing cider, a drink made from fermented apples. However, the title also carries a layer of irony. By referencing “genetics,” Banksy seems to be commenting on the way we manipulate and modify nature, perhaps not just in the realm of agriculture but also in human society, where we alter the very fabric of natural systems for convenience or profit.
One of the key elements of Cider Genetics is the inclusion of a bull in the image. This enraged bull, often a symbol of power, strength, and volatility, adds a layer of chaos to the scene. The bull’s presence could be interpreted in several ways. On a symbolic level, it might represent the unpredictable forces of nature or capitalism that push against the boundaries of control. The bull, often associated with both aggression and fertility, might reflect the tension between nature’s raw power and human attempts to control or modify it. In this case, it could also be a metaphor for the forceful and sometimes reckless impact of genetic manipulation or industrial farming practices.
Banksy’s use of the bull is not just about its symbolic weight, but also how it disrupts the otherwise calm and serene imagery of the apple trees. The animal's uncontrolled energy contrasts sharply with the controlled and sterile notion of genetic engineering. The bull’s fury could also represent the broader consequences of unchecked technological advancements—how nature, society, or even economies can be thrown into turmoil when human innovation is driven by profit or expedience, rather than wisdom or foresight.
As with much of Banksy’s art, Cider Genetics invites viewers to question the status quo. It’s a critique of how modern society tends to manipulate natural processes, often without fully considering the long-term effects or ethical implications. The raging bull serves as a reminder that, even in an era of unprecedented technological and genetic control, nature—and its untamable forces—will always fight back, reminding us of our own vulnerability and the consequences of overstepping our bounds.
In sum, Cider Genetics is a multifaceted piece of work that blends commentary on genetic engineering, environmental exploitation, and the unforeseen consequences of human actions. The raging bull, a symbol of untamed power, serves as a stark reminder of the forces that lie beyond human control, urging us to reconsider the ways we engage with nature and the technologies we use to shape it.
– The piece was sprayed onto a metal window shutter of the Cattle
Market Tavern in Bristol and was recovered prior to the building’s
demolition. This Art Work comes together with the remaining part of this
metal window shutter.
NOTE
- The Cattle Market Tavern
in Bristol was built in 1910 and was located in Temple Gate behind
Temple Meads train station. It was once the watering hole of choice for
workers from the nearby Royal Mail Sorting Office, but after the sorting
office moved to Filton, the pub’s business soon dried up and it was
closed in 1997. In May 2018, Bristol City Council demolished it to help
make way for the university’s new Temple Quarter campus.
Condition: Very Good.
Literature
Hessinks Catalogue 2021 - pages 24-27.Banksy "The Early Years 1992-2005 - by Ulrich Blanché. Page. 76
Publications
Listed in the ‘Catalogue Raisonne of Banksy’s Street Art’, Work ref no. 106.