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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Girl Eats Sun: Background story to the artwork for Hope Tala

I was contacted in the summer of 2020 to work with Hope Tala on creating some album art for her EP Girl Eats Sun.

When I asked if she was the “girl” in the title, she confirmed my suspicion and I knew I had to incorporate a portrait of her into the artwork.

She gave me a list of song titles — Girl Eats Sun, All My Girls Like To Fight, Crazy, Drugstore, Easy To Love Me, Mulholland and Cherries. I though, why not use these titles as the source for the imagery on the cover as well. So each song title became symbolically represented and combined with the image of Hope herself. Each title conjured a rich image in my mind that fit perfectly with my quirky way of painting in my pop surrealism style. I worked up a rough sketch that blended all the seperate images into one big scene of craziness.

I got Hope’s blessings on my sketch and I jumped into the painting with both feet. Everything came together into one big, bright unified image—reminiscent of psychedelic art from the 1960s. The exaggerated colour and playful characters help give the painting an undeniable sense of crazy fun.

I’ll let you figure out the rest for yourself.

Interview in Euphoria

Interview in House of Solo

Hope Tala on Twitter

Hope Tala on Instagram

Stephen Gibb on Instagram

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Froze—by Canadian painter Stephen Gibb, 36″ x 36″, oil on panel, 2020

FROZE by Canadian painter Stephen Gibb

The balance between survival and our relation with the environment is a give and take negotiation at its simplest state. Depletion, plunder and by-products that result from our “processing” of resources are ways in which we impact the equilibrium. The responsible thing to do is minimized the negative legacy in favour of a renewable, sustainable outcome. Yet humans seem more adept at exploitation for greed and profit and waste is an inconvenient factor in the equation.
The emissions and pollution, the sewage and trash management of large cities is evidence of our excesses and ignorance. These were considerations that guided my painting “Froze”.

Reducing the composition to four basic characters, I focussed on the mood and the atmosphere of the painting more than a reliance on the narrative chaos that I typically rely on in my work. The frozen world above is giving way to the melting world below as the two central figures huddle for warmth and sustenance in a situation that is ironically contributing to their imminent peril. Just as human society has created the system of resource exploitation that is contributing to global warming and climate change, so do the central figures in the painting. The catch-22 created by the need for warmth for survival is also melting the ice, hastening their demise, as the voracious devil-like figure waits for his dinner below.

The fragile balance of life is often illuminated by taking an alternate perspective, and just as often it is obscured by ambiguity.

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While pondering a fun house setting for a painting, I became aware that the whole reason for a fun house is to artificially induce fear in the patron. It became clear that fear or phobias would then become the central theme to the painting. Taking a smattering of common phobias and integrating them into my surreal art, here is the result:

“Fun House of Phobias” — Stephen Gibb, 36″ x 24″, oil on panel 2019

Meditation on how fear shapes our lives

Fear fills us with anxiety.
It makes us avoid situations and it can make us seek out situations.
It forces us to overpay for things we don’t need.
It urges us buy cheap knockoffs.
It suffocates us in our inadequacies.
It erodes our status and drives our aspirations.
It ruins relationships and drowns us in paranoia.
It stokes the fires of jealousy.
It keeps us guarded and incapable of contact.
It waits for us at night.
It hides at the bus stop, dark alley, and foreboding basement.
It lurks behind the strangers face.
It slinks in the shadows of the unknown.
It watches us as we sleep.
It shows us what is wrong with the world.
It crushes us with what we see in ourselves.
It contaminates every uncertainty.
It rationalizes our irrationality.
It confuses our affirmations.
It makes us doubt the truth.
It dumbs us down and puffs us up.
It lies out loud and inside our heads.
It guides our thoughts and haunts our dreams.
It disrupts the peace with blunt force.
It looms like a dark cloud above us.
It screams on the dark pier of surreal art.
It is chronic and unrelenting.
It removes our calm and unsettles the waters.
It hints at the onset of madness.
It overthrows the balance.
It leads us to the edge.
It threatens us with doom.
It grips us like the icy hands of death.

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Crossing the lines between the supernatural, the unexplained and the realm of science that is just “weird” offers up a rich visual spectrum of possibilities for a painting.

Spooky Action at Close Proximity — Stephen Gibb, 36″ x 24″, oil on panel, 2019

Taking straight-forward connections to magic words like magic 8-ball, magic mushroom, magic carpet, magic eye (vacuum tube), and combining them with tools of magicians and alchemists becomes a jumbled image of loosely associated items and characters.

Items like a tarot card, crystal ball, evil eye, ouroboros, an infinity symbol, gold, lead (pencil), cups, sword (dagger), coin, wand and voodoo doll all add to the mystical symbols that historically are linked to the performing of magic.

The coloured balls represent the four elements—earth, air, fire, water, while the left-hand-side hand represents black magic and the right white magic.

Science as magic is represented by Einstein’s theory of relativity, as he watches the baby traversing the sky in an arch, arriving as a corpse on the opposite side. Instead of a rabbit coming out of the hat we have a pair of rabbit-ears (TV antenna) which echoes the technology represented by the cathode tube, the egg-yolk light bulb and electric arc.

Is a surreal artist supposed to access their unfiltered subconscious or can their work be informed by content and concepts pulled from language and assembled in a compelling composition? Andre Breton would argue in favour of the former. I will defend my preference for the latter and let my painting act as support to my argument. Whatever side of the surreal fence you find yourself on, it all boils down to your own personal preference and willingness to accept that good things come in all sorts of packages.

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Pop Surrealism has a broad range of influences, a reverence for art history, an unsettling presence and a wicked sense of humour. One thing that unites the pop surrealist community is their comfortable and insatiable relationship with weirdness. If describing in words what is and what isn’t pop surrealism, one only has to look at the work to get the distinction.

To me, pop surrealism and lowbrow are just labels that I fit easily into. It’s a category that helps you describe my work to someone else, and to locate it or discover it Online. Chances are you are reading this right now because of some connection the “movement”. At any rate, you are here, so take a minute to plunge deeper into my world…

Can You Pass The Marshmallow Test?
In this painting I explore themes that relate to psychology. If you have a working knowledge of some of experimental psychology’s fundamentals, you probably have a good idea what’s going on here. There are effigies of Freud and Skinner, as well as references to Rorschach, Pavlov and other classic research experiments. Plus a few little random things I wanted to add.

Head Trip to the Uncanny Valley of the Shadow
This painting began as an exploration of “the journey” or “the trip” and because of the connotations took on some drug references as well. Aside from the planes, trains and automobiles and the drug paraphernalia, there is the flaming skull, which I imagine is the hell of addiction. The so-called “loss of ego” is symbolized by the crown floating away, while the desperate lizard (lizard brain) tries to stay with it.

Give Me A Break
Taking idioms of the word “break” and incorporating them into visual symbols was the thought behind this painting. Break the bank, heart broken, break the spell, etc. Though this may have been the motivation and the roots of the composition, my mind took it in many different directions as well.

Happy! — Stephen Gibb, 36″ x 24″, oil on panel, 2020

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Life’s A Trip

Stephen Gibb’s cover art for Trippie Redd’s album “LIFE’S A TRIP” – ©2018 TenThousand Projects, LLC.

The initial design, grew and blossomed from this point of beginning (below)…eventually leading to the final artwork above.

Stephen Gibb’s initial design artwork for “LIFE’S A TRIP”

More on Stephen Gibb – Facebook – Instagram
More on Trippie
Stephen Gibb credit – Allmusic.com

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2018

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Visit Sideshow Fine Art for prints of selected works.

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

Stephen Gibb – Artist Statement
(Or, at least a feeble attempt to excuse my behaviour to those present with good taste)
My artwork weaves an eclectic tapestry of cultural and social influences. At one moment it may make a
single-punch-line comment on pop culture while the next it may construct a complex and playful diorama
probing into the outer perimeters of human nature.
My work is often categorized as pop surrealism but I’d begrudgingly prefer to tag it as existential editorial
cartoon realism, just because it sounds more intelligent and funny at the same time. The work holds
a certain reverence and faithfulness to reality mimicry but leans away enough to fall in the shadow of the
“uncanny valley”, the area where the mind is unsettled by what looks real enough but couldn’t possible
be. It is in this realm, theoretically, that the mind’s gamma waves are super-stimulated and brain activity
resembles fireworks. I resolve that this accounts for the broad reactions my work garners from observers,
that ranges from contemptuous dismissal to enthusiastic exuberance. We are all wired differently.
The medium is the method, which has been a faithful deployment of oil painting and traditional oil painting
techniques, such as glazing and the occasional dalliance into chiaroscuro. The richness achieved
by layers of thinned oil paint on MDF panels always adds an interesting luminous quality to the final
piece.
My direction as of late has been to devote more to composing on the panels rather than in pre-sketches.
I’m intrigued by the more spontaneous and gratifying results of ideas presenting themselves in the process
rather than in the planning, hence the falloff in the recent output of sketches. Often a core image or
concept dictates subliminally as to how the composition manifests itself.
see stephengibb.com for more 2018 paintings

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Frog Prince At The Gates Of Decay

Frog Prince Anatomy: Analytical dissection of The Frog Prince At The Gates Of Decay

To understand the motivation and source of my Frog Prince painting’s inspiration it’s probably best to break it apart and examine the bits close-up.

The Frog Prince or the Prince Frog
The central figure is the frog prince, which was chosen because of my interest in the ambiguity of characters. Is he a prince or is he a frog? Is he a prince who has been turned into a frog or is he a frog who may get turned into a prince. He occupies both states in my mind, like Schrodinger’s cat, both dead and alive, a symbol of potential. As well, the frog has many symbolic meanings to various cultures, including good luck and fertility.

Crowning Glory
Adorned by a multi-faced crown, his status signifier is ambiguous with its conflicting expressions ranging from angry to neutral to happy. Again, the uncertainty, the beguiling nature of emotions or states in flux appeals to me deeply and should register in the viewer’s mind as a point of contemplation. Crowns have always symbolised a certain status/prestige kind of theme to me, which is easily lumped into the whole ego/esteem domain and a fun territory to explore. Above the crown hovers the spectre of death, clearly glancing to the left hand side of the painting for reasons that will soon be made apparent.

Splitting Up the Estate
If the painting is bisected down the middle it gets thematically divided, with despair and decay on the left and prosperity and abundance on the right. Though this may be a trite dichotomy, I feel like the use of new symbols and standard conventions opens up a fresh way of looking at things.

Time in Chains
The tall figure on the left is the spectre of time as a grandfather clock, trudging under the weight of his chains like Marley’s ghost—anchored to the sins of his past. This is a little play on the word zeitgeist (time ghost/spirit) but also establishes the themes of despair (his ghostly obligation, condemned to carry his burden) and decay (the by-product of passing time) also shows in his forlorn expression as he watches his hand (hands of time) disintegrate.

I have No Mouth and I Must BBQ
On the far left is a dinosaur engaged in the futile task of grilling a steak he cannot eat, since he has no mouth and his entire head is an eyeball. His eye is clearly bigger than his stomach, which means he wants more than he can actually have. Prehistoric creatures fall into the theme of despair and decay without even trying. They are extinct, long-gone figments of the past, which again tie into the theme of time.

Venus of Willendorf: The Barren Fertility Goddess
The Venus of Willendorf (c. 25,000 BC) is speculatively attributed to be a fertility goddess, an object that through sympathetic magic would bestow to those associated with it, abundance and fertility. It is however made of stone, and to western culture, stone is more synonymous with death than fecundity. Nestled to the Venus’s stone breast is the skull of an infant, sardonically positioned to suckle in an absurd pantomime

Crappy Birthday
At the bottom left is a decomposing birthday cake, frosting putrefying and candles that typically denote the years and the passing of time, askew and blinding the cake’s agonized face.

Perverse Playthings
At the bottom left is also a pull-toy in the form of a housefly. Contrasting the cute and cuddly with the vile and repulsive, flies stand for decay in a way that makes them uniquely qualified as experts. Their maggot offspring thrive on decay and as adults they frequent spots of disgust to lay their eggs and socialize. I like the humour of the toy/food relationship too. The toy is arguable the frog’s and also a housefly would typically be a food for the frog.

Spare Me Some Cutter?
The old, emaciated man reaches inside the frog’s mouth for a morsel or is the frog biting his arm? An act of desperation seems more likely, given the meagre meal the old man would offer. The lengths someone will go for survival including eminent peril, makes the act more heroic than pitiful.

Melting Moon/Crumbling Column
C’mon, I don’t have to spell it out for you…do I?

Magic Money Carpet Ride in the Land of Milk and Honey
One of the only characters inhabiting the painting that seems to be enjoying himself is the milk glass. Even though he is carelessly spilling himself for the shear fun of the flight he is exemplary of wanton waste, conspicuous display and the thrill-seeking nature of wealth. His honey sidekick seems to be just along for the ride but his stoic demeanour is part of his blasé personae—everything is too boring—been there, done that.

The All-Consuming Octopus
This creature devours the landscape, just as we carelessly plunder ours for resources at risk of depletion. When there is plenty to be had we seldom consider a time when there would be otherwise. In his tentacles are spoons (silver?) one of which is using its own spoon to sample the meal. In some way this is a comment on subservience, each subsequent link gets a smaller portion.

Mr. Money bags
Clearly filled to near bursting, Mr. Money Bags is not content with his station, turning out his pockets in horror that there isn’t more. Greed becomes a poisonous motivation for many who are in financially secure situations. The need for more begets the need for more…

Pot O’ Gold
Yes that’s a pot of gold at the end of the rainbow on the right. If the arc of the rainbow is followed to the left hand side of the painting it leads to a bucket of slop.

Hello Dolly
The frog neglectfully ignores the doll draped over its arm. The doll appears to be “dead”, with cartoon Xs for eyes and comports a limp posture. A doll is a surrogate for the real thing and thankfully the frog is only lord over a pretend baby, since his attention is obviously directed to his more self-interested distractions.

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Originally posted at:

https://www.facebook.com/notes/stephen-gibb/work-in-progressthe-frog-prince/1382002881883751/

Bubblegum Surrealism: Stephen Gibb – Artist Statement concerning pop surrealism in Canada as a contemporary Canadian artist. Canadian art is a fractured story of borrowing and appropriation from all cultures. Canadian Surrealism is the category what I most often associate my art with.

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pop surrealism peanut butter

Anyone who creates something remotely surreal owes a debt to Freud, for delineating the concept of the “unconscious” mind, Andre Bretton, for formalizing the surreal process into a movement and Salvador Dali for rising to the top as their darling poster boy.

It was Dali who captured in oil paint the highly rendered, dream-like imagery of the wandering mind into a form that was both disturbing and intoxicating. Dali spawned thousands of imitators, emulators and admirers, and love him or hate him, his influence today is undeniable. He may have borrowed from the godfather of the surreal, Hieronymus Bosch, but as one time card-carrying contemporary of Surrealism, he was the painter exemplar.

Persistence of Dali

I often hear comments from people that my work reminds them of Dali and I forgive them for being naïve but also understand that it’s just a convenient way to tag me. As a simple point of reference that helps them to share in some kind of “art” experience, I know I should be more tolerant. It used to make me insane but now I’ve become numb to it.

Dopamine

But really, why should I protest? People are making associations; connections, conclusions that may not be particularly original but at least they are exhibiting what essentially makes surrealism tick – the instinctive reflex for humans to seek meaning out of chaos. If this is how the “audience” makes sense of their perceptions, how does the artist encode their intentions?

There was a reason I mentioned Dali above because I am now going to use him and his ilk to demonstrate my thought process in explain how I came to paint the way I paint. Often asked, “Where do your ideas come from?” I can now attempt to expose some of that process in a few clumsy paragraphs.

When I first encountered the work of Bosch, Breughel, Dali, De Chirico, Man Ray, Ernst, Magritte and others, I felt an immediate connection. No one had to explain or guide me through the subtleties of what I experienced. It was like a puzzle that had no conclusion, but was fun to unravel. That unsettling sense of familiar and unfamiliar blended into one form, touching the matchstick to the fuse in my powder keg mind is what drew me to the surreal. Something dreamlike, something innocent and perverse, something lurking in the shadows whispering inaudible prompts to draw you in, spin you blindfolded and shove you back into the world.

The lovelorn and the cycle of lies

This is what art should be for me. Something that generates ideas, thoughts, and discussions and that just doesn’t pose as an answer. It should be embraced for the conceptual nudge it gives and not for some phantom truth that it strives for. It should be open-ended and mysterious, to open the floodgates of your reasoning and stir the colliding thoughts in a pot of egoless abandon. It should go with you once you leave it, and gnaw at your sleep. It should soak into your skin and enter your bloodstream. It should surprise you when it unexpectedly returns in your daily activity.

When confronted by surrealist art people are often hung up on meaning. “What does it mean?” is asked in haste and the question precedes the act of seeing. It also becomes the blind alley leading them away from self-discovery. To process without instruction is a liberty we should embrace. This is your chance to be creative with nothing more than a visual stimulus to get your cart moving. The elements of a surreal composition can set a tone and set you free to associate whatever idiosyncratic notions you may chance upon. There is no rulebook, map or schematic logic to follow. It’s up to you.

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Revenge of the sycophant scorned – 2016

While Canada may be best known for hockey, maple syrup and poutine it also has a rich history in the arts and literature as being a detached point of perspective from which to do profound field studies on the United States. As the nearest sibling to America, Canada has been infiltrated by its culture, invaded by its advertising, amused and confused by its politics and saturated by its media. Where better than to observe the crucible of western culture and watch it bubble over…?

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