A set of mathematical processes developed for use in crime-fighting and disease-tracking indicates that one already-suspected individual may indeed be the infamous graffiti and installation artist known as Banksy.

The approach of “geographical profiling” is often used to track down repeat offenders, serial criminals whose strikes began to form patterns that can be productively analyzed by experts and run through models by mathematicians.

The findings help paint a picture of probable places of residence and areas of everyday operation, criminal or otherwise, sometimes narrowing the search to an area as small as a few hundred square feet.

Steven Le Comber, a biologist at the the University of London, learned of geographic profiling from Kim Rossmo, a criminologist at Texas State University, growing interested because of potential applications for disease vector studies. The two then began teaming up to find both pathogens and people.

In this case, their modeling shows clusters of activity in London and Bristol based around 140 data points, specifically: sites of known or alleged works by Banksy. Their findings, reported in the Journal of Spatial Science, suggest a handful of addresses in London (a pub, park and residence) all associated with one Robin Gunningham.

Already suspected of being Banksy, Gunningham may yet be a ruse or a plant, but science suggests the individual is very likely connected with the artist, one way or another. As to the question: who is Banksy? We may never really know for sure.

From the abstract: “The pseudonymous artist Banksy is one of the UK’s most successful contemporary artists, but his identity remains a mystery. Here, we use a Dirichlet process mixture (DPM) model of geographic profiling, a mathematical technique developed in criminology and finding increasing application within ecology and epidemiology, to analyse the spatial patterns of Banksy artworks in Bristol and London. The model takes as input the locations of these artworks, and calculates the probability of ‘offender’ residence across the study area. Our analysis highlights areas associated with one prominent candidate (e.g., his home), supporting his identification as Banksy.”

With works often requiring second looks or sanity checks, artist Pejac bends reality in his use of paint and other materials to create sublime art from walls, streets, sidewalks and gutters.

His newest works in Paris, shown above and below, play with our sense of surface and depth, revealing a hidden world beyond the wall in each case. If the close-up scene looks familiar, you may recognize it as The Luncheon on the Grass by Manet.

Likewise implying something secret is this silhouette of a door – at a glance, it is hard to tell what part is a real crack in the concrete and which pieces are simply painted on top.

In previous projects, he has also played with the arts of subtraction and illusion in other clever ways – letting the world, for instance, slowly melt, drip and trickle toward the drain.

Some of these works are quite time-intensive and incredibly detail-sensitive, like this final piece in which the artist carefully chipped away at the white paint on a brick wall to selectively reveal the red surface below it.

Its organic form fits its function as a Cité du Corps Humain (Museum of the Human Body) like a metaphorical glove – interlocked fingers were, in fact, part of the conceptual inspiration for this new museum in France.

With a medical school more than a millennium old, Montpellier is a fitting location for a nearly 10,000 square-meter place for people to “explore the human body from an artistic, scientific and societal approach through cultural activities, interactive exhibitions, performances and workshops.”

Working with local firm A+ Architecture, BIG was first shortlisted then selected to complete the project. Their ability to format compelling modes of visual communication no doubt helped improve their prospects with the jury.

Weaving together nature and the city, a series of indoor and outdoor spaces interlock to shape programmatic and public areas. “The museum’s roof functions as an ergonomic garden – a dynamic landscape of vegetal and mineral surfaces that allow the park’s visitors to explore and express their bodies in various ways – from contemplation to the performance – from relaxing to exercising – from the soothing to the challenging.”

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Human Body Museum Undulating Design Wins Competition