A striking new mural by the mysterious street artist Banksy has appeared on the exterior wall of the Royal Courts of Justice building in central London, sparking immediate controversy and swift action by authorities. The provocative artwork shows a judge wearing traditional court attire - a powdered wig and black robes - violently striking a protester who lies on the ground, with blood spattering across the demonstrator's placard.
The timing of the mural's appearance has drawn significant attention, coming just two days after nearly 900 people were arrested during a London protest against the ban on Palestine Action. While the artwork doesn't explicitly reference any specific cause or incident, its placement and imagery have led many to interpret it as commentary on recent events and the broader relationship between the justice system and protest movements.
Authorities moved quickly to conceal the controversial piece, covering it with large plastic sheets and placing two metal barriers around the area. Two security officers were stationed to guard the covered artwork around the clock. When asked about their assignment, one security guard commented with resignation, "At least it's not raining," though they admitted they had no idea how long they would be required to maintain their watch.
The Metropolitan Police confirmed they had received a report of criminal damage to the building and stated that their investigation would continue. Meanwhile, a spokesperson for HM Courts and Tribunals emphasized that the Royal Courts of Justice is a listed building with historical significance, explaining that they are "obliged to maintain its original character" under preservation laws.
Banksy chose to place the mural on an external wall of the Queen's Building, which is part of the larger Royal Courts of Justice complex, specifically on Carey Street - typically a quiet thoroughfare. However, by Monday, the usually peaceful street was bustling with curious onlookers attempting to photograph the now-hidden section of wall, despite the barriers and coverings.
The Bristol-based street artist confirmed the work's authenticity through his usual method - posting a photograph of the mural on his Instagram account. The post was captioned simply "Royal Courts Of Justice. London," following Banksy's typical minimalist approach to claiming ownership of his works.
Labour peer Baroness Harriet Harman offered her interpretation of the piece, stating she believed it represented "a protest about the law," though she declined to specify which particular legislation might be the target. She went on to defend the judicial system, explaining, "Parliament makes the law, and the judges simply interpret the law. I don't think there's any evidence, in terms of the right to protest, that judges have been clamping down on protests beyond what Parliament intended."
This latest work fits squarely within Banksy's established pattern of creating stenciled graffiti that serves as sharp social commentary, often targeting government policies, military conflicts, and capitalist systems. The artist has built a reputation over decades for using public spaces as a canvas for political messaging, frequently addressing issues of power, inequality, and social justice.
Last summer, Banksy captivated London with an ambitious animal-themed campaign consisting of nine different works scattered across the capital. The series concluded dramatically with a gorilla that appeared to be lifting up the entrance shutter at London Zoo. Other memorable pieces from that campaign included piranhas that seemed to be swimming around a police sentry box in the City of London, and a howling wolf painted on a satellite dish mounted on a rooftop in Peckham, south London. The wolf artwork was removed from the shop roof in less than an hour after its unveiling, highlighting the rapid response that often follows Banksy reveals.
Beyond London, Banksy has gained international recognition for his politically charged work in conflict zones, particularly in the West Bank. In December 2019, he created what he called a "modified Nativity" scene at a hotel in Bethlehem, depicting Jesus' manger positioned in front of Israel's separation barrier. The artwork showed the barrier as if it had been pierced by an explosion, creating a star-shaped hole. This piece directly addressed the ongoing Israeli-Palestinian conflict, as Israel maintains the barrier is necessary to prevent infiltrations from the West Bank, while Palestinians argue it serves as a tool for land appropriation.
The appearance of this new mural at the Royal Courts of Justice represents Banksy's continued willingness to tackle controversial subjects and challenge authority through his art. As the covered artwork remains under guard and investigation continues, it serves as yet another example of how the anonymous artist continues to provoke public discourse about justice, power, and the right to protest in contemporary society.
