Banksy Stencil Satire Monochrome

Re-render this image in the visual register of late 1990s through 2010s Bristol-lineage stencil street art (the body of anonymous wall work that crystallized around the Banksy aesthetic and its many imitators across London, Bethlehem, Los Angeles, and New Orleans). Single-color or two-color spray stencil aesthetic on a weathered urban substrate: brick, concrete, plaster, or boarded shop window. Palette restricted: matte black spray over a found surface (the surface itself supplies the second value), with at most ONE accent color used sparingly and only for a single charged element, typically arterial red, traffic-cone orange, or military olive. Rendering: hard-edged silhouette with multi-layer registration, three to four stencil layers maximum, slight overspray at edges, occasional drip running down from a thicker passage, no airbrushed gradients. Surface: aged brick mortar lines visible through the stencil, paint pooling in low spots of the masonry, wheatpaste residue and prior tags faintly underneath. Light: flat documentary daylight or low-angle streetlight, the wall photographed slightly off-axis as if by a passerby with a phone, no studio lighting. Composition: subject occupies a small portion of a much larger photographed wall, negative space around the figure giving it deadpan isolation, the satirical pivot living in the gap between the rendered figure and an everyday object in the source. Mood: deadpan ironic, the joke landing through scale-mismatch and context-collision rather than through a punchline, polite anger dressed as wit. Strictly no on-canvas lettering, no legible slogans, no signature mark, no rat-stamp, no spray-tag, no watermark, no English or other language text anywhere on the surface. Preserve the subject, pose, and composition of the source image exactly, change only the medium, surface, and rendering. Aspect ratio matches source.