Canadian Pop Surrealism Art of Stephen Gibb

Stephen Gibb — Thu, 07 May 2020 18:47:40 +0000

Canadian Pop Surrealism Art — The Allegory of the Baked Potato Apocalypse

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.

Back to Gallery