Banksy's Love Is in the Air (Flower Thrower) showcases a powerful anti-war image of a man in a balaclava, poised as if to throw a bomb but instead holding a bouquet of flowers - an emblematic call for peace to replace violence.
Also known as LIITA, Flower Thrower, or Rage, Flower Thrower, gained prominence as the cover image of Banksy's 2005 book, Wall and Piece. Originally created in 2003, it was released in a limited edition of 150 signed prints and 500 unsigned prints. The stencil style is a nod to Banksy’s roots in street art, as stenciling allows him to quickly embed his work in urban landscapes with minimal risk of being caught. Over time, Flower Thrower has become an iconic piece in street art history and a motif Banksy frequently revisits, much like his depictions of rats and monkeys.
In 2014, Banksy applied for a trademark for Flower Thrower to prevent unauthorized use or copying. However, the greeting card company Full Colour Black later challenged the trademark, arguing that Banksy wasn’t actively using the image for business or branding. This case became pivotal, setting a precedent on whether Banksy could claim trademark rights without commercializing his work. Ultimately, Banksy lost the trademark, which Full Colour Black used to contest other Banksy designs and even his name.
In response to the ongoing trademark dispute, Banksy launched the pop-up shop Gross Domestic Product in 2019. Explaining the shop’s purpose, Banksy stated it was necessary due to legal action: "A greetings cards company are trying to seize legal custody of the name Banksy…[he was] advised the best way to prevent this is to sell his own range of branded merchandise."
One Gross Domestic Product offering was a signed and numbered triptych of Flower Thrower. A total of 600 Flower Throwers were released , 300 were unframed regular editions and 300 were released complete with an ornate, gold artist’s frame and available only to VIP customers of Gross Domestic Product. Banksy used a unique printmaking technique for this version, spraying the stencil onto processing film and directly exposing it onto silk screen, which avoided digital edits and created a precise, analog representation of his mark-making. As described on the product page, the result “looks pretty dope.” True to his humorous style, Banksy included quirky assembly instructions: "Do not store indefinitely in a dark place hoping it will increase in value. This work is not intended as an investment commodity - for display purposes only." The enduring popularity of this work attests to its status as a symbol of Banksy's subversive artistry.
