Hopefully you can find what you are looking for in the above links or by a simple Google search. If you have any questions or want to reach out to me personally you can always send an email at: info@stephengibb.com
Vax —Canadian artist Stephen Gibb, 36′ x 24″, oil on panel, 2021
More from Canadian artist Stephen Gibb: On the surface it would be easy to categorize my “style” as a blend of Surrealistic fluidity, Northern Renaissance narratives with Cartoon/Comic Book characters in a Nursery Rhyme tale of morality. I guess if it were to fit a trend it would be a remnant of the Hot Rod and Psychedelic art of the 60s, which today is recognized as Pop Surrealism.
I am fascinated by neuroscience and psychology, which probably flavours everything I do. When composing a painting I will ask myself or have specific ideas about what the characters are thinking and experiencing. I think it’s my way of opening a dialogue with the viewer, hoping that they ask the same questions.
I have always been interested in the human condition and the complexity of human nature. I tend to think in “universal” themes, which may be skewed by my own biases and perspective, but they often serve as my point of inspiration. What could be characterized as existential themes, ones that cross cut the inner workings and emotions of being human—being alone, being faced with trying to make sense of existence—arise all the time in my work.
Most often the external influences on my art are just reactions to what I perceive about the situations around me. I do draw a lot of inspiration from concepts like consumerism and capitalism—our nature to indulge in excess and exploit the planet for personal gain. By extension that exploitation of the planet trickles through in environmental messages occasionally. This year I also responded to the pandemic with a plague-themed painting. In it I used some of my standard themes of decay, threat , anxiety and self-preservation.I think my introverted nature has directed most of my life experience and forced me to internalize things in order to evaluate and search for meaning. I try hard to understand things and have come to respect the inevitable confusion. Confusion is just one of the ingredients that shape meaning.
I come from a comfortable middle-class background that nurtured a thirst for experience, exploration, curiosity and inspiration. When someone turns a concept I’ve held on its head I am always shook and love that mind-blowing feeling of new discovery. I have a university education and a BFA in visual arts, so I had the good fortune of that experience as a foundation. Western pop culture has definitely played more of a role in contributing to my art than religion, gender or ethnicity.
I’ve never had to sustain myself by selling art, so I never fell into the trap of producing commoditised or commodified artwork—just simply painted to sell. My main income was elsewhere and that gave me a deep respect for the time and effort I wanted to put into my painting. I painted what I wanted without a market in mind and it slowly developed over the years to what it is today. I don’t think it could have worked any other way.
Nighttime Quells the Frisson of Breathing Sunlight — Stephen Gibb, 36″ x 24″, oil on panel, 2020
Canadian artist Stephen Gibb
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Hopefully you can find what you are looking for in the above links or by a simple Google search. If you have any questions or want to reach out to me personally you can always send an email at: info@stephengibb.com
Vax —Canadian artist Stephen Gibb, 36′ x 24″, oil on panel, 2021
More from Canadian artist Stephen Gibb: On the surface it would be easy to categorize my “style” as a blend of Surrealistic fluidity, Northern Renaissance narratives with Cartoon/Comic Book characters in a Nursery Rhyme tale of morality. I guess if it were to fit a trend it would be a remnant of the Hot Rod and Psychedelic art of the 60s, which today is recognized as Pop Surrealism.
I am fascinated by neuroscience and psychology, which probably flavours everything I do. When composing a painting I will ask myself or have specific ideas about what the characters are thinking and experiencing. I think it’s my way of opening a dialogue with the viewer, hoping that they ask the same questions.
I have always been interested in the human condition and the complexity of human nature. I tend to think in “universal” themes, which may be skewed by my own biases and perspective, but they often serve as my point of inspiration. What could be characterized as existential themes, ones that cross cut the inner workings and emotions of being human—being alone, being faced with trying to make sense of existence—arise all the time in my work.
Most often the external influences on my art are just reactions to what I perceive about the situations around me. I do draw a lot of inspiration from concepts like consumerism and capitalism—our nature to indulge in excess and exploit the planet for personal gain. By extension that exploitation of the planet trickles through in environmental messages occasionally. This year I also responded to the pandemic with a plague-themed painting. In it I used some of my standard themes of decay, threat , anxiety and self-preservation.I think my introverted nature has directed most of my life experience and forced me to internalize things in order to evaluate and search for meaning. I try hard to understand things and have come to respect the inevitable confusion. Confusion is just one of the ingredients that shape meaning.
I come from a comfortable middle-class background that nurtured a thirst for experience, exploration, curiosity and inspiration. When someone turns a concept I’ve held on its head I am always shook and love that mind-blowing feeling of new discovery. I have a university education and a BFA in visual arts, so I had the good fortune of that experience as a foundation. Western pop culture has definitely played more of a role in contributing to my art than religion, gender or ethnicity.
I’ve never had to sustain myself by selling art, so I never fell into the trap of producing commoditised or commodified artwork—just simply painted to sell. My main income was elsewhere and that gave me a deep respect for the time and effort I wanted to put into my painting. I painted what I wanted without a market in mind and it slowly developed over the years to what it is today. I don’t think it could have worked any other way.
Canadian artist Stephen Gibb