Inside the Shadowy World of Banksy: Revelations from His Longtime Manager

The enigmatic street artist known as Banksy continues to create waves across the art world, even as he enters his fifties. This year alone, he's brightened up London's streets with a stunning array of spray-painted animals. His work remains as provocative and relevant as ever, with many believing that the artist will keep producing until his last breath.

Steve Lazarides, who managed and photographed Banksy from 1997 to 2008, reflects on their collaboration with a mixture of nostalgia and pride. Lazarides, a fellow Bristolian, expresses frustration over Banksy's reluctance to step back from the art world. "Banksy will never retire. I’ve advised him many times to enjoy life outside of his art," Steve reveals.

Looking back on their partnership, Lazarides recalls the groundbreaking nature of Banksy's work even in the early days. He reminisces about the unconventional exhibitions they staged, one notably featuring over 200 live rats—a move that put Banksy in direct confrontation with art establishment norms. "Who else would sneak a piece into the Tate?" Lazarides marvels, highlighting Banksy's fearless creativity.

Their relationship blossomed when Lazarides first encountered Banksy's work at Sleazenation magazine while photographing street art in Bristol. Their chemistry sparked quickly, leading to a collaborative venture where they sold prints out of the back of a car—an effort that morphed from £5 prints to pieces commanding £5 million in the art market.

As Banksy's fame soared, a veil of secrecy surrounded his identity. "The need for anonymity began as a self-preservation tactic," states Lazarides. "Over time, it became a kind of burden for him, with everyone envisioning their own Banksy as a folk hero." The lengths Banksy went to protect his identity were remarkable; he would even switch out phones frequently to avoid detection.

One of the most audacious exploits they undertook was the infamous 2004 stunt at London’s Natural History Museum, where Banksy, disguised as staff, cleverly placed a taxidermied rat in a display case. This act remains a highlight of their time together. Additionally, in 2003, Banksy made headlines by disguising himself as a pensioner to install his artwork in Tate Britain, proving his ability to outsmart the establishment time and again.

Beyond these spectacular stunts, Banksy’s iconic prints have stirred considerable discussion. Lazarides suggested that the beloved "Girl with Balloon" may hold a personal backstory linked to a past romance, even cheekily dubbing it "the housewife's favorite." However, he remains coy about the true origins of the piece, adhering to Banksy's demand for secrecy.

Currently, Lazarides is preparing for an online auction set to net over £1 million, showcasing a variety of rare items from their collaboration. Among the intriguing offerings are original stencils of Banksy's most recognizable works, personal phones, and even worn sneakers inscribed with his name.

Despite having carved out a successful career after departing from Banksy's shadow, Lazarides expresses a desire to move on, stating, "I want to focus on my photography rather than always being known as Banksy’s ex-manager." Critics, however, question the ethics of his auction, suggesting it undermines the spirit of their past friendship.

On the topic of Banksy’s potential feelings about the auction, Lazarides claims he would likely be “quietly supportive,” though sources close to Banksy have raised eyebrows at this assertion. The sentiment suggests a distancing between the two, signifying a chapter in both their lives that may have come to a close. As Lazarides candidly puts it, “We never truly got along as people; we recognized our distinct paths and built a productive partnership instead.”

In the world of street art, where anonymity and personal identities dance delicately, Banksy remains an enduring, elusive figure whose relationship with his old confidant raises questions about artistic integrity and personal loyalty in the ever-evolving art market.