2025

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2025 paintings

Index of paintings by Stephen Gibb

2025 paintings

Graduate of the University of Windsor School of Visual Arts – BFA 1985

Canadian painter Stephen Gibb is known for his vibrant Pop Surrealism oil paintings and his commissioned work with the music industry. His bright mashups of iconic characters often address the existential issues and anxieties of contemporary society, which are contrasted by moments of joy and transcendence. “We are reared on nursery rhymes and fairy tales, so why not extend those lessons and conventions into more adult-based themes?” says Gibb. His paintings offer a chance for the viewer to ignite their own creativity and construct their own narrative –¬¬ informed by their personal experiences and the associations they may derive from the imagery.
Familiar to millions around the globe his artwork is indelibly linked to the album art of hip hop artist Trippie Redd and to some degree, British singer/songwriter Hope Tala, a favourite of Barak Obama.

Windsor painter, Stephen Gibb, is consumed by the magic and mystery of art — the magic found in the uncanny visceral and cognitive impact that art has on us; the mystery being the unknowable, open-ended aspect that draws us into the artwork and into ourselves. Fascinated by figurative language and abstract concepts that are transformed into literal images, his allegorical and symbolic nature explores neuroscience and the science of vision and colour to enhance his signature level of visual overload. A student of Surrealism, cartoons and psychedelic art, Gibb has found himself an adopted member of the Pop Surrealism, Lowbrow artists

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CLICK FOR FULL VIEW — Take an Hour and Contemplate Your Ego – 2023 Stephen Gibb, 96″ x 48″, oil on panel.

The story behind Stephen Gibb’s Pop Surrealism Lowbrow painting: Take an Hour and Contemplate Your Ego.

Pop Surrealism Lowbrow Painting Explores the Ego

The Concept: The Gaze of the Long Now

Over the years, Stuart Brand, co-founder and editor of the Whole Earth Catalog has founded several organizations, of which the Long Now Foundation has significant relevance to my project. The Long Now Foundation aims to promote “slower/better” thinking as a counterpoint to what it views as today’s “faster/cheaper” mindset.

Adopting a similar “slower is better” attitude, I undertook a career-long ambition in 2023 to create an artwork that demands to be approached slowly and deliberately, in a quiet, contemplative frame of mind. With the idea of inviting the viewer to devote a considerably longer amount of time engaged with the painting than our at-a-glance culture is used to, I’m challenging one of the very cornerstones of our on-demand, drive-thru, overnight-delivery, instant-gratification society. Our need for speed may be flawed.

In my art practice, it is in these quiet, contemplative moments that the most fertile inspiration comes from. Getting there is the first step — far removed from the doom scroll of the mobile phone, the opinion-as-truth news media and the endless stream of social media noise. I was struck by an exhibit I had several years ago, how most people just breezed by, maybe politely pausing for a few seconds at each painting, yet others would stand for 15 minutes and immerse themselves into the artwork. Which begs the question: What was the connection they made that the others didn’t?

Were they able to view the art in a quiet state, already removed from the impulse and pull of their conditioning, governed by the perpetual quest of “what’s next”? When we live in a culture that constantly inundates us with information from the outside, how can we even take time to process it, let alone access our own information that is generated from the inside? My painting aims to create a situation where the viewer can reconnect with that inner self and refamiliarize themselves with the beauty of their own imagination.

The second motivation was to create a painting so compelling that it couldn’t be ignored. The irony is not lost on me — taking on such an ego-centric project, which is centred thematically on the ego seems a bit lofty and pretentious but is one supported by neuroscience. Brain scans of people confronting an overwhelming or confusing image light up like fireworks, their minds “jumpstarted” as they try to make sense of what they see. Entering this Gamma wave state of mind is where peak concentration and optimal information processing takes place. Human nature fundamentally compels us to extract meaning from things that confound us, especially when the message is not readily apparent or spoon-fed. The scale and complexity of the painting at the very least demands a more than cursory glance from even the most jaded of art connoisseurs.

Take an Hour and Contemplate Your Ego

Employing my standard approach to painting, which is often referred to as Pop Surrealism Lowbrow the title of the artwork is also the subtitle of the proposed exhibit — The Gaze of the Long Now: Take an Hour and Contemplate Your Ego.

Using the “ego” as the anchor for what the content of the painting examines, I employ an allegorical and symbolist approach of connecting images to convey the concepts chosen for the subject. Not always apparent, the images have a bifurcating effect, leading the viewers down their own pathways and rabbit holes of exploration and comprehension. Just like an “apple” means something different to every person — you may think of computers, the Beatles, William Tell, Snow White, grandma’s pies, etc. — so is the power of any image. Allowing yourself to follow those associations and linkages in your own self-discovery, is the real connecting force and magic of art.

The ego is represented in a raw psychological form as understood in my own naïve way, viewed through many facets of pop culture and aspects of the human experience. The broad concepts are encrypted in imagery that transforms the figurative into the literal.

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Pop Surrealism Lowbrow Painting Explores the Ego

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2023

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2024 paintings

Index of paintings by Stephen Gibb

2024 paintings

What is painting and why do I paint

To understand the object as a symbol the viewer must disengage from the object and penetrate beyond its visual representation to extract its significance from the volumes of connotation held within. To say a picture is worth a thousand words is to impose a limitation on its potential.

What my paintings offer is a chance for the viewer to construct their own narrative based on the connotations and associations they may derive from the imagery, regardless of my motivations for painting it.

Understand, there are no drugs involved and no psychedelic experimentation. Along with my natural neurological makeup, I have conditioned my mind to think in a way that allows bizarre connections and associations to combine with seemingly disparate objects — all coming together with meaning and signification.

Stephen Gibb lives and works in southern Ontario, Canada. He earned a B.F.A. in visual arts from the University of Windsor and is currently represented by the St. Germain gallery in Toronto. Among the cities he has exhibited in are San Diego, Sacramento, and Hollywood— the hotbed of California’s Lowbrow and Pop Surrealism community. His work is collected around the globe and has gained widening interest since working on the album art for hip hop artist Trippie Redd.

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Art Comp 2023 — Show your Support!

“Essence of Hope and Despair” — Stephen Gibb, oil on panel, 2021

This painting is 1 of 100 artworks vying for the ART COMP 2023 prize. I am looking for support from friends and followers. Please consider voting for my painting today! To vote for this work visit the online voting site (https://artcomp.awardsplatform.com/) or visit Art Comp 2023 in person at 100 Kellogg Lane in London ON

Stephen Gibb at the Art Comp 2023 opening night event

Essence of Hope and Despair, 36″ x 24″, oil on panel by Stephen Gibb, 2021

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About the painting:

Tapping into the realm of psychology, the surface of water is the threshold between the air and the depths but also represents levels of consciousness and awareness. The skull has penetrated the surface and is entering the murky depths where unseen and unknown things dwell. The vicious-looking fish lurks about in a threatening manner…the psychoanalytic submarine searches for meaning, while a submerged rock mound echoes the strongholds that pierce the surface like island totems — once a refuge but now a drowned, mysterious relic.

Hope takes the shape of the exploding yellow head on the far left. Visions of colourful delights flow out of his head, candies and flowers support a childhood source of comfort in the shape of a teddy bear. But there is a sinister side to hope, perhaps when hope becomes delusional. The teddy bear is actually coming apart and his insides (his essence) is being devoured by two other figures.

Despair is the eggman on the far right. Lost in his anguish, his head leaks the essence that once held him together, his hope of evolving from egg state to bird is no more. The green figure above him echoes his emotional state and dark clouds brew in the background with foreboding menace.

The spaceman is the explorer, surveying the mayhem, like an agent of psychoanalysis assessing the situation, from the safety of his self-contained suit.

Frank Zappa once said, “Writing about music is like dancing about architecture”. I feel the same way about writing about art. Art is its own language with only awkward translations available. I can repeat the notions that crossed my mind when creating the painting, but most of that would be irrelevant. I could deconstruct the process employed while producing the piece but that would only be an abstraction of a bunch of arbitrary steps. I could agonize over all the decisions that went into the painting but that would be like describing all the bolts that go into the making of an automobile. The composition tends towards a harmonious sense of balance — a measuring out of points of interest, detail and colour but it reveals nothing significant.

Essence of Hope and Despair

Painting in Art Comp 2023 competition

A painting by pop surrealist Stephen Gibb

Artist: Stephen Gibb, oil on wood panel, 36″ x 24″, 2021

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2023

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2023 paintings

Index of paintings by Stephen Gibb

2023 paintings

What is painting and why do I paint

To understand the object as a symbol the viewer must disengage from the object and penetrate beyond its visual representation to extract its significance from the volumes of connotation held within. To say a picture is worth a thousand words is to impose a limitation on its potential.

What my paintings offer is a chance for the viewer to construct their own narrative based on the connotations and associations they may derive from the imagery, regardless of my motivations for painting it.

Understand, there are no dugs involved and no psychedelic experimentation. Along with my natural neurological makeup, I have conditioned my mind to think in a way that allows bizarre connections and associations to combine with seemingly disparate objects — all coming together with meaning and signification.

Stephen Gibb lives and works in southern Ontario, Canada. He earned a B.F.A. in visual arts from the University of Windsor and is currently represented by the St. Germain gallery in Toronto. Among the cities he has exhibited in are San Diego, Sacramento, and Hollywood— the hotbed of California’s Lowbrow and Pop Surrealism community. His work is collected around the globe and has gained widening interest since working on the album art for hip hop artist Trippie Redd.

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Psychopathology of Wants and Needs – Pop surrealism painting by Canadian Artist Stephen Gibb, 36″ x 24″, oil on panel, 2022

This painting started off a few light years away from where it ended up. The original concept was to do something around the theme of “bliss”, examining the things that bring us to this occasionally visited state of mind.

I envisioned a head absorbing the things around it, which would have been things that evoke the state of bliss in people. The head became a skull, full of holes because it just seemed like a cool idea. I think sometimes the things that people seek to attain their blissful state can also be deadly and I liked the “ultimate conclusion” commentary by including the skull, acknowledging it as the final destination of bliss and of life.

Everything I came up with just seemed lame after that. So, I thought I’d explore the foundations of why we seek bliss. It occurred to me that maybe there was something in Maslow’s Hierarchy of Needs that could give some insight into the concept.

This is where I abandoned the whole bliss theme.

Instead, I focused on representations of “needs” in my typical left-field approach, bubblegum surrealism style. A trivialized representation of food (sustenance) became a pie, which I doubled back on, posing the pie in the act of replicating himself…rolling out some dough for a crust. Reproduction is on the lower level on Maslow’s hierarchy and is represented by the pie and the gooey union of the two lolly pops, who produce offspring at the point of their sticky embrace. The progeny then takes an ironic bite out of the parent in an act of defiance and rebellion — the normal function of a teenager (LOL). At the far right a figure looks at his fingers as they produce offspring, which appear to just be fodder for the crow standing nearby (the circle of life).

The figure on the far right also represents clothing, shelter, property, security, which are lower, basic requirements according to Maslow.

The sleeping potato symbolizes, sleep, air and water — also basic needs, in spite of the absurdity of the situation.

As we move upward the needs become more abstract and less material. The two lollies could represent love, intimacy, family and connection, whereas the green lolly’s floating-away crown touches on the area Maslow characterized as “esteem”, the realm of status, recognition and self-esteem, things I think our society puts too much stock in. As well we put absurd value on wants versus needs and a title was suggested to me — The Psychopathology of Need and Wants.

At the right side of the mountain is Sisyphus as an ape, pushing a large brain up the incline, symbolizing evolution, strength and the struggle to raise the “required needs” to the pinnacle of the hierarchy, which is represented by the pyramid man at the top, radiating out to embrace everything in his “blissful” state of self-actualization. - Artist Stephen Gibb, Nov., 2022

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Fool’s Paradise Lost – Pop surrealism painting by Stephen Gibb, 36″ x 24″, oil on panel, 2022

The idea of “loss” and “the Fool” often percolate up in my work. The nature of loss is a pretty straight-forward concept — one that everyone can relate to. The Fool on the other hand is a concept that we impulsively project onto the “other” and avoid associating it with “the self”.

The actual truth is we all do foolish things, have foolish thoughts put value on meaningless things. In essence, we reject the fool, but recognise the Fool in ourselves — unless living in a delusional world of denial.

My portrayal of the Fool is a stereotype. A goofy innocent, oblivious of the dire nature of his situation, grasping in a futile attempt to preserve things he values — things that are empty and hollow. He wears the Dunce cap, just to formally label him in case there is any confusion in an attempt to make the figurative into the literal.

The Fool longs for love, acceptance, power, and wealth, but all these things are in eminent peril or were mere illusion to start with. His soul mate is a candy apple headed doll, which brings the “Paradise Lost” component of the title into the painting. In John Milton’s epic poem, the subject of Adam and Eve being tempted by Satan and their expulsion from “paradise” is prominently explored. In the painting, the doll-wife figure is the forbidden fruit incarnate. She has already been partaken of, so the sin has been committed and she is now just evidence of the Fool’s guilt.

In his other hand is a mock sceptre, a symbol of power but a powerless candy substitute. Inside is a crown which is bait for the Fool’s ego, an aspiration to fulfil his longing for prestige and power. Candy is a frivolous and pleasure centred treat. It echoes his pointless, pleasure driven desire for elevating his position. Junk food for his empty soul.

An equally empty and ephemeral balloon ironically expresses his disdain of the fool as he passes overhead. The balloon’s existence is always in peril and its imminent demise foreshadows the impending doom of the Fool.

The threats that impinge on the Fool come from above and below. Overhead a ball of fire from the heavens hurtles gleefully toward the Fool, while below a resourceful devil claws away at the foundation supporting the completely oblivious Fool. Oblivion being a key condition of a foolish and irresponsible outlook on life.

An apparition of a god-like entity looms in the clouds, overseeing the sins of the Fool. If God does not play with dice, at least he plays games with the Fool. The landscape is a crumbling board game with player markers making their way through their existence. Above, a laughing die delights in the scene below, his contribution of chance outcomes determines the fate of the players.

Below the die a daring paper doll attempts to eat fire in an absurd act of self-destruction. This could parallel any self-destructive and foolish behaviour that we as humans engage in for whatever reason, ultimately ending our chance at Paradise. The paper doll sits on a slowly draining snow globe, a souvenir of paradise in decay, reinforcing the theme of this Pop Surrealism painting. A crumbling column opposite also prepares to topple, its heyday long past.

To add to the sense that things are deeply wrong, a sheep plays tug-of-war with a spear of broccoli over a piece of meat. The incongruent behaviour of both characters (one a vegetable, the other a vegetarian) may be a way of me commenting on the topsy-turvy world we live in.

To the right side of the painting a thuggish frog wields a club threateningly at the Fool. It appears he has already smashed his way into the Fool’s safe as his fortune trickles away. A fool and his money…

A slice of mouldy bread, which is also jargon for money, angrily pushes a clock (time) towards the edge of the cliff. In essence the clock foretells that the Fool’s time is up and as the die (death) falls off the edge, the game is over…

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2022

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Index of paintings by Stephen Gibb 2015 2014 2013 2012 2011 2010 2009

2022 paintings
I imagine a world where the visually rich language of fairy tales and nursery rhymes extends into adulthood. The traditional nature of this kind storytelling is best presented with visual aids; simple, straightforward text accompanied by fantastic illustrations. In our culture, this is a conventional part of our collective upbringing and experience. These stories often convey lessons, which are coded in familiar, symbolic language, and are likely where we first encounter metaphor and allegory.

We carry these symbolic codes into adulthood—like wolf equals bad, pig equals good. The narratives I deliver in my paintings utilize this common trove of visual references; however with more mature and timely messages.

The intertwined relationship between language and image has always guided me in constructing my artwork—using visual puns, symbolic themes and literal translations from words into paintings. Often the compositions and assemblies of characters seem to clash in a surreal incongruence, but on some level, they relate by a verbal association or some idiomatic commonality. My aim is to exploit these visual conventions and present something visually arousing with dynamic color and compelling content.

The level of “payoff” sophistication that the viewer “gets” from the paintings is relative to their own personal experience and history. There may be universal themes revealed, and there may be idiosyncratic dead ends. There is no correct reading of the images other than what the viewer extracts on their own. Even my opinion and the depth of what they mean to me may change from day to day.

Stephen Gibb lives and works in the small town of Amherstburg, in southern Ontario, Canada and maintains a second studio in Windsor. He earned a B.F.A. in visual arts from the University of Windsor and is currently represented by the St. Germain gallery in Toronto. Among the cities he has exhibited in are San Diego, Sacramento, and Hollywood— the hotbed of California’s Lowbrow and Pop Surrealism community. His work is collected around the globe and has gained widening interest since working on the album art for hip hop artist Trippie Redd.

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Last Days Of the Plague — Stephen Gibb, 36″ x 24″, oil on panel, 2020

The long history of art relating to plague can be traced from medieval times and the likes of Hieronymus Bosch to the irreverent doodling of pop surrealism art

After resisting the sort of automatic response that the year 2020 prompted—mainly as a result of the pandemic crisis of Covid-19, I finally relented.

There is only so much one can take with the onslaught of media and the reports that propagate fear and disseminate ignorance before you start to manifest a reaction. It was with fear and ignorance that this painting took root.

Basing the initial thoughts around the centrally positioned “troll under the bridge” I thought I could divide the painting into two halves, where the left represented fear and the right represented ignorance but that was just the launch pad.

A painting seldom blossoms from the core concept into a fully realised representation of that concept. It often transforms into something else as the idea incubates and I ponder the elements of the composition. This painting represents a prime example of that kind of deviation from the original whim—a transformation into something more ambitious with a broader scope of themes.

As well as the initial themes of ignorance and fear, the image now includes commentary on superstition, plague, decay, pollution, contamination and irresponsibility. Time to apply my brand of pop surrealism art to the painting

Breaking down the images

Safe as houses: What could be safer than isolation in your own home? The thing is, as we learned in 2020, you still need to interact with outsiders in the society and culture we have created. Bringing outside threat into the home is a concern and the fearful–looking house and house ablaze symbolizes that fear.

Protection: The prophylactic use of masks as protection from the virus is echoed in the plague-doctor crow and the deep-sea diving suit, both fearful enough to wear protective clothing but still threatened by contamination. The crow, and diver being attacked by the piranha were two of the first and original ideas. The crow tries to reinforce the crumbling wall oblivious to the poison gas dancing around his feet. The sun masks the smell of decay with a clothespin but the ineffective defence is futile against the underlying factor present in the “plague”.

The Plague: I wanted to represent the “plague” as a color and the antifreeze green or Mountain Dew yellow seemed perfect to symbolize it. Originally the source was to be from the troll, oozing from his nose and mouth, contaminating the water and by extension into the food and drink of the townspeople and leaching into the ecosystem as well. The locust, a symbol of plague, was an afterthought but was needed to balance the composition (as were the pumpkin, the bubbles and the Soviet-era missile)

I only drink when I’m drunk: The “villagers” are oblivious to the threats around them and they represent the ignorant aspect of my original concept. They drink to intoxication, without regard to what it is they are drinking and without any effort to protect themselves or others by wearing masks or socially distancing. This brash flouting of common sense leads to more contamination and perpetuates the vicious circle.

Always after me lucky charms: Ignorance can give birth to superstition. During the 17th century it was believed that plague was propagated by putrid air and that a beak-like mask filled with herbs, straw, and spices would offer protection—hence my plague-doctor crow. It was also believed that onions could ward off the infection!

It’s a gas: Playing off the miasma theory of plague propagation I used a poison gas canister attached to the locust to represent the idea of the plague being present in the air. Not only that but it is manifesting itself as a creepy clown that looms threateningly over the village. The mournful tree trunk also oozes a noxious gas that floats into the clouds, only to condense and return as a toxic raindrop.

Motherland of invention: Using the decaying Soviet-era missile was not a political statement. Being from the West, the threat during the Cold War was always the Soviet Union, so showing a relic from that era was reflexive. The idea of a neglected nuclear missile, rotting and contaminating the environment just seemed to fit with the vibe of the painting and as stated above, I needed something to compositionally balance the painting there.

Let’s get medieval: Our notion of plague often harken back to the Black Death and the stories that spring from that era. I wanted a little nod to that notion and the wooden cart, stone wall and cobblestones seemed to give the painting some medieval flavour.

I am the eggman: Yes, that’s me, recovering from a broken ankle while I painted this. I am vulnerable and frail as Humpty Dumpty, trying to ward off the plague by distancing myself from human contact (even further than usual).

Pop Surrealism Art: Yeah I know, WTF does that mean? It means people search the web for pop surrealism art and that ultimately brings them to me…

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More about Stephen Gibb:

• Lowbrow Pop Surrealism Exhibit – Gag Me With a Toon

• Banksy Exhibit

• More On Pop Surrealism

• Trippie Redd Album Cover

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The Allegorical Baked Potato of the Apocalypse — Stephen Gibb, 36″ x 24″, oil on panel, 2020

The painting personifies potatoes and examines them in their natural “potato environment” to reveal subtle aspects of human nature and behaviour in a fun and absurdly roundabout way.

Starting at the top, the central image of the baked potato radiates like some kind of deity in the sky. I thought of the baked potato as the ultimate expression of a potato, but there is also a sense of menace about it. An idealized and divine representation often alludes to some unattainable ideal, or abstract aspiration like a quest for the Holy Grail. Its ominous position looks like it could be an apocalyptic meteor falling to earth or a god lording over its humble subjects on their earthly domain below.

The salt and pepper shakers are two sides of a cosmic dichotomy. The anger and rage of the pepper is offset by the delight of the salt. Like some yin-yang balance in the heavens, they overlook the activity below, sprinkling their essences, which are ironically typical potato seasonings. Again, there is a divine detachment, but an active involvement in the goings on below.

At the middle left is the gravy boat containing the smile potatoes in a symbol of indulgence and decadence. Playing on the metaphoric strength of what gravy connotes (as well as being the perfect topping for potatoes), the smiles gleefully bathe in it, though one sinks abashedly below the surface. The reason for his demeanour is the sudden arrival of the scorned green onion (a potato garnish), whose emotional display of anger at being excluded from the privileged experience of the smiles may also be an expression of FOMO. Class struggle and failed aspirations could be construed from this encounter.

Canadian Pop Surrealism Art of Stephen Gibb

At the green onion’s heel is a solemn memorial to the great potato famine, acknowledging a historic event that brutally demonstrated the importance of potatoes as a staple in the western diet.

The potato in the lower left corner is a commentary on identity. Whether he is dissatisfied with his appearance or wanting to alter it, he weighs his Mr. Potato Head options laid out before him. Our societies obsession about appearance is reflected in his dilemma but the ambiguity of his actions (is he shedding the disguise or donning it?) make for a more personal interpretation. The bowler hat reaches back to historical class-distinction/status issues as well.

Next to Mr. Potato Head is a curly fry. Twisted and dizzy from the nature of it’s own corkscrew design it symbolizes the disorientation and confusion of modern life.

Canadian Pop Surrealism Art of Stephen Gibb

Above the curly fry is a pierogi huddled behind a giant potato chip. The pierogi represent a tradition or culture of the past, an anachronism, a hand-made food cowering behind the supreme, mass-produced junk food of contemporary times. The clash between generations is amplified by the demeanours of both figures—the demure, wilting perogi and the exuberant and bold posture of the chip. The potato chip holds aloft a potato masher and potato peeler, two items that, to a potato, could be identified as weapons. As the chip skids though some chip dip he is effectively appeased by the presentation of a French fry, which seems to allay him from his aggressive approach. The old potato dispenses this pacifier from his dwindling supply echoing the basis of many economic theories. He is an archaic holdover from a bygone era, with his broccoli/cheese brain and traditional potato appearance intact. Blind and forlorn, he dominates the scene but his frailty is poised to give way to the aggression of the next generation.

The pile of mashed potatoes in the centre bottom lustfully licks the melting butter—the very thing, which in turn makes him delicious, in a circular, self-referent absurdity (such is life).

Canadian Pop Surrealism Art of Stephen Gibb

On the far right bottom a tater tot observes some new potatoes, innocent and yet to be influenced by the crazy world around them. The tater tot is an example of a very processed and modified version of a potato so the contrast to the fresh, new, “baby” potatoes is more poignant.

Observing all the activity is the slightly frightened and definitely agitated bottle of ketchup. Another condiment for potatoes, he conceals himself, isolated and voyeuristic, trying to make sense of all the activity.

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St. Germain Gallery: Featuring Stephen Gibb

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