In the Fake Banksy Punks, 10,000 distinct 3D hyper-realistic Pop art photography NFTs reside on the Ethereum blockchain.

In today's society, we rely heavily on the mass media and social media to keep up with current events, and these platforms have made a conscious decision to alter and portray false information as reality while simultaneously hiding and obscuring the truth. It's impossible to tell the difference between a real and a fake person when the truth has been buried six feet underground. To show our opposition to mainstream and social media misinformation and manipulation, we created a series of fictitious Banksy Punks using graffiti and pop art techniques.

Become a part of our fight against this idiocy. When we unite, they will no longer be able to ignore us. <3

The pre-sale minting of 0.035 ETH has begun.

0.05Eth for sale to the general public.

The ERC721a is the most recent NFT smart contract available (developed by the Azuki team), and as a result, our gas charge has been reduced to a maximum of $10 for minting up to five NFTs in a single session thanks to the fake Banksy punks.

If you've ever wondered what Banksy, Andy Warhol, CryptoPunks and other artists might look like if they were reimagined in the form of a photo-collage, this collection is for you. It has no connection to Andy Warhol, Bansky, or Larva Labs. On the other hand, CiCKartworks' Fake Banksy Labs is a community-driven NFT lab showcasing art by CiCK (crypto-artist responsible for I AM NOT BANKSY, DISOBEYPUNKS, Punkedups and ElonMonst).

Artist Bio:

Artist CiCK (MetaVerse, 1974) is a conceptual and media artist based in New York City. Creating a sense of disorientation in the viewer is a common tactic employed by CiCK, who frequently employs a series of identical pieces to convey the impression that ideas are in the process of being formed. In one sense, her conceptual artworks are lovely, but in the other, they're also really enticing. The artist repeatedly abandons us with a jumble of contradictory emotions and notions. She explores a variety of overlapping topics and tactics by drawing on well-known issues, including sexuality, family structure, and violence. Popular culture, the media, and the study of expectations are just a few of the recurring themes that can be found in this collection. There are a slew of clichés, obviousness, cerebral sluggishness, and terrible humor in all of her work. They challenge the image's coerciveness in light of its deeper significance and the image's apparent aesthetics. Through depicting the pervasive presence of a "corporate environment," she creates pieces that might be seen as portraits of herself. It's hard to tell if they're distinctive and eccentric or typical American superabundance and marketing byproducts. She frequently makes allusions to popular culture in her writing. The use of written and drawn symbols creates a universe in which levity reigns supreme and the established order is continually challenged. Her works reference post-colonial philosophy, the avant-garde, and left-wing democratic movements as a means of resisting the logic of capitalism by parodying mass media and exaggerating certain formal characteristics intrinsic to our present culture. In the second part of the twentieth century, her work shows how life expands beyond the confines of one's own self-perceived limitations. Attempts to dismantle the dichotomies we constantly establish between ourselves and the rest of the world.