Big Apple

Thomas Blood’s Big Apple blurs the line between Pop Art and Surrealism and organic and synthetic forms. Defined by rich reds, bright blues, and flecks of golden yellows, the palette is stunning. The biotic nature of the apple is belied by an artificial appearance that reminds one of a reflective plastic balloon. What most strikes me about Big Apple are the colorful and alluring advertisements it brings to mind (I can’t help but think of Quintin Tarantino’s iconic fictional “Red Apple cigarettes”). The painting reveals the power of advertising and the art that acts as the foundation for its capacity to entice. Big Apple is clearly not an advertisement, and even if it was, I certainly have no idea what it would be promoting; however, the bright colors and sensual reminder of original sin inspire a sense of need. This artistic foundation behind the power of advertising lies at the heart of the Pop Art movement and its commentary on the manipulative power of art.