Guy Overfelt (American, b. 1977) is a nonconformist who is known for his reinvestment in tradition art historical genres with a confluence of popular culture and an abundance of visually compelling and surprising and unexpected forms. Overfelt ceaselessly explores the intersection of allegory and everyday life.
Guy Overfelt was educated at the Maryland Institute College of Art (BFA) and went on to receive his graduate degree from the San Francisco Art Institute (MFA). Overfelt’s work has been exhibited at Ever Gold Gallery, Jack Hanley Gallery, White Columns, New York City, Ronald Feldman Fine Arts, New York, Oakland Museum of California; Guangzhou Triennial, China; St. Mary’s University, Halifax, Canada; The Havana Biennial, Cuba; And is included in the Berkeley Art Museum Collection and the JPMorgan Chase Collection. Overfelt has been the recipient of the Eureka Fellowship from The Fleishhacker Foundation (2014-15), a finalist for the SFMOMA SECA Award (2012 & 1998), Creative Capital (2005), Whitney Biennial (2002), and a recipient of an Artadia Award (2001). His work was featured in the documentary film Burning Rubber that aired on Bravo. Overfelt has been reviewed and featured in numerous publications, including New York Times, The New Yorker, Index Magazine, Paper Magazine, Time Out Kobe Japan, Time Out New York, The San Francisco Chronicle, Art Net, Art Papers, and Surface Magazine. In 2015-17 Overfelt will be included in a traveling museum exhibition “BLOW UP: Inflatable Contemporary Art”.
Past Ever Gold Exhibitions
– Free Bird Joy Ride, 1998-2014, 2014
– #BLACKLIGHT a hesher tribute to minimal artist Dan Flavin., 2012
– Ever Wash, 2011
Burnout, 1998 – Present
From the project Burnout, a 13 year degenerative process work that address failure of achievement and the dissolution of the American Dream in real time. What started out as a fully functional classic muscle car has dissolved into a deflated wrecked poetic and prophetic carnage of the US car industry and the Phoenix which once brilliant stood upon the hood of this Hollywood icon, The Smokey and The Bandit Pontiac Trans AM.
Process for making Burnout paintings.
Picasso Bongs, 2015 – Present
It was when I got into the art world, while working as a preparator in an Upper West Side gallery in New York, that kind of sparked the idea for the Picasso Bong series. A throw back to when my friends and I use to make different bongs and bowls out of anything we could find. A gravity bong from a milk jug in the kitchen sink, or a bowl made of plumbing parts from the hardware store. The more inventive, the better.
At the time, I was holding a Picasso vase thinking, “What is this, a gravy boat? This could be a killer bong.” While in the creative moment, the head preparator caught me test diving. I was fired on the spot—mostly for handling the raw terracotta vase with bare hands. And probably because I was going “Hey check this out! Wouldn’t this make a sick bong…”
For years, the idea of a Picasso Bong stuck with me. And It turns out getting a properly made Picasso wasn’t as easy as you’d think. Federal counterfeiting and forgery laws tripped out a lot of potential collaborators. It took a few years but I finally ended up going to China where they are known for high quality Ming Dynasty level ceramics and not so concerned about art forgery laws. As well as Mexico for the terracotta edition.
To get dimensions and details right, I snagged high-res images of Picasso vases from high-end auction houses, extrapolated their measurements and then used those to create blueprints. The production process was a little shadowland, but they turned out a near perfect, fully functional Picasso bong that’ll impress your friends and family with your Blue Chip Art collection
Sujet Poisson Bong (After Picasso)
Partially glazed red earthenware clay bong with decoration in englobes (black, white). Hand blown glass bowl and stem.
Stamped and marked “Edition Picasso Bong / Madoura Plein Feu / Edition Picasso” (underneath).
5.5” h x 8.5” d x 3.75” w
Edition of 50