Theories abound about the meaning of Banksy‘s latest artwork.

Crowds have already flocked to Kew Bridge in west London, the site of the elusive guerilla artist’s latest piece, which appeared on the side of a building this week.

It features the silhouette of a goat balancing on top of some masonry, looking down towards the floor as debris crumbles from the precipice – all under the apparent gaze of a CCTV camera positioned to the right.

Banksy confirmed he was responsible in his customary, nebulous way – by posting an image of it on his Instagram page, without any caption offering further explanation.

It has again cleared the path for his legion of fans to openly proffer a range of suggestions about its meaning – some rooted in social and political commentary, while others are less serious.

Several people said the artwork was symbolic of the plight of refugees and migrants in the UK.

One fan wrote: ‘Nowhere to seek safety, no privacy.

‘Eyes of the world on you, you climbed into what you thought was a safe space, only to find you have no way out.’

Another theorised: ‘The goat represents the rebellious spirit of those feeling marginalised or oppressed, fighting against perceived injustices and systemic issues. It also symbolises the scapegoating of certain groups during times of social unrest.

‘The CCTV camera highlights the increased surveillance and control measures implemented by the state in response to the riots. It symbolises the government’s attempt to maintain order and assert authority, reflecting the tension between state power and civil liberties.

‘The goat’s precarious position on the edge mirrors the fragile state of UK society, teetering on the brink of chaos due to the recent disturbances.

‘This positioning suggests the limitations and vulnerabilities of both the protesters and the authorities, questioning how far individuals can push against societal constraints and how far the state can go in exerting control without worsening tensions.

‘Overall, the artwork critiques the current social and political climate in the UK. It emphasises the conflict between the desire for change and the state’s efforts to maintain order, urging a deeper consideration of the root causes of unrest and the balance between security and freedom.

‘It calls for dialogue on addressing these issues while respecting individual rights and freedoms.’

Another person, in an apparent reference to recent riots at asylum seeker hotels across the country, wrote: ‘Like the poor families hiding in those hotels right now with their foundations getting destroyed.’

Somebody else claimed the piece was a reference to societal short-sightedness: ‘The camera is looking at the falling rocks, rather than what’s causing them to fall.

‘Goats are adapted to climbing on narrow ledges, so it isn’t in danger, but the camera’s view doesn’t give the full picture.

‘So I’d guess that it’s referencing the need to understand that news needs context before forming an opinion.’

Global conflict also featured in the discussion on Banksy’s Instagram page.

One fan wrote: ‘My interpretation, it may be wrong. The endangered Palestinian Mountain Gazelle is the national animal of Palestine.

‘The world is watching whilst it teeters on the edge. Limited time to save it.’

And someone else claimed it might be a reference to climate change. 

She wrote: ‘Humans are the unresponsive camera watching as all of nature is in peril. There is no where else for life (nature) to go. We did this. 

‘And yet we have removed ourselves from being present and responsible or empathetic. Thank you Banksy.’ 

One person boldly suggested fans were over-thinking it, writing: ‘Lots of comments questioning the meaning behind this… it could be as simple as Banksy thought a Goat would look cool up there!!!’

And another irreverently posted: ‘Banksy is the GOAT’ – an acronym ubiquitous in popular culture to mean ‘greatest of all time.’

Building on a similar theme, albeit with a more sober tone, one commenter wrote: ‘My interpretation: The United Kingdom was once GOAT but now standing on the cliffhanger as the world watches.’

The artwork is Banksy’s first since a stunt at Glastonbury Festival in June in which an inflatable dinghy full of dummies dressed as migrants launched into the crowd, live on the BBC.

It happened during a set by alternative chart-toppers Idles, who had led the crowd in a chant of ‘f*** the king’, which was also broadcast live on BBC Four as part of their coverage of the long-running music and arts festival in Somerset.

Many fans at the Other Stage – traditionally billed as the alternative to the flagship Pyramid Stage – thought the inflatable life raft, carrying a number of seated dummies in high-visibility vests, was a prop for their politically charged headline set.

But a representative for Idles said that the boat was created by fellow Bristolian Banksy, and that the band were not aware of what had happened until after they came off stage.

The demonstration was thought to have been a nod to Rishi Sunak’s tough stance on tackling the small boats crisis.

It was described by then-home secretary James Cleverly as ‘trivialising’ small boats crossings and ‘vile’, but the artist responded saying his reaction was ‘a bit over the top’.

The graffiti artist previously funded a migrant rescue ship, which was impounded in Italy last year after responding to distress calls in the Mediterranean.

In March this year, another Banksy appeared overnight on the side of a building near Finsbury Park.

It showed a splattering of green which has been painted behind a bare tree to look like foliage, with a stencil of a person holding what appears to be a pressure hose next to it.

The site then attracted legions of Banksy fans to catch a glimpse at it.

But within three days the mural was defaced with white paint. It prompted the local council to erect a metal security fence to protect it from further damage.

The Mail on Sunday previously revealed Banksy to be Robin Gunningham, a middle-class artist who has repeatedly refused to confirm his identity. 

His reputation is founded on the popularity of his trademark stencil-style art in public spaces – including on walls in London, Brighton, Bristol and even on the West Bank barrier separating Israelis and Palestinians.

He has dozens of celebrity collectors including Brad Pitt, Angelina Jolie and Christina Aguilera, and his work repeatedly sells for hundreds of thousands of pounds.

He is also known for his headline-making stunts, such as leaving an inflatable doll dressed as a Guantanamo prisoner in Disneyland, California, and hanging a version of the Mona Lisa – but with a smiley face – in the Louvre, Paris.

His artwork Girl With Balloon famously self-destructed in a Sotheby’s London saleroom when it descended into a shredder in 2018.

That piece was then renamed Love Is In The Bin, which in 2021 sold for £18.6 million, a record for Banksy’s work.