Since approximately the 16th century, progress in human development has come at a heavy price. The damage inflicted on nature by industrialization and misguided political decisions is evident. The situation has worsened, particularly in the last two centuries. From the 1960s onward, some scientists, thinkers, and artists gradually began to pay attention to this global ecological crisis and intervene in line with their own ideologies. Banksy is one of them. Taking a political and activist stance, the artist, beyond war and politics, has opposed capitalism, the consumer society, and the exploitation of natural resources for profit, and has produced numerous works in this context. This article examines and analyzes Banksy’s ecologically sensitive works. It utilizes "semiotics," a consistent and objective method, to analyze and interpret the meanings of his works. This method provides a deep understanding of the context in which the artist’s images intersect with ecology and the discourse they represent. Ultimately, Banksy’s ironic and satirical approach to the ecological crisis is evident in his works, which are examined through Roland Barthes’ concepts of meaning and connotation. By carefully selecting and combining the images he uses in his works, the artist has played a significant role in revealing truths and raising ecological awareness through this new meaning he creates. He has recognized the destructive effects of global powers, capitalism, bureaucracy, and consumer culture on nature and developed a holistic perspective on the global ecological crisis. The fundamental point of criticism in his works on this subject is the anthropocentric mindset.

Keywords: Ecological Crisis, Contemporary Art, Banksy, Street Art, Semiotics