Forerunner, latex paint on canvas, 48 x 30, private collection, Thousand Oaks, CA

ESSAY

Derek Overfield is a figurative artist who specialises in the expressive form of the figure. He describes his
work as inspired by human myths, folklore, and literature (Overfield with Forth Magazine). He stated he
gets a lot of inspiration from Michaelangelo as well as his successor Rodin. He says that the most
essential art movement would be the late classical period of Greece/Rome and the High Renaissance of
Italy, with their humanistic focus on the figure as the epitome of artistic expression. He responds to non-
figurative work as well, as well as the work of the Abstract Expressionists (Overfield with Minted). I came
across his work while browsing Pinterest, and it struck me heavily with how he uses strokes and
brushwork to emphasise figure. I fell in love with the use classicism and romanticism in his work, as I
usually love the human figure in art.

I chose his work ‘Forerunner’ as a focus because of how well it represents his style and how it impacted
me when I first saw it. He uses ‘sgraffito,’ which is an approach where he scrapes lines into white paint,
revealing the black paint underneath (Overfield 2014). Latex paint presents Overfield with a certain
fluidity and it allows for experimentation. It lends itself well to the dynamic and gestural strokes which
figurative art needs. It lets him draw into the paint, while secondary washes of black paint are added
atop, bringing out highlights and depth. He is currently exploring the form in latex paint as well as
acrylic. His works on paper could be characterized as a sustained gestural technique. They take elements
from both classical drawing and expressive work. His works on canvas have a similar approach, and he is
developed a technique of painting that feels very much like drawing. (Overfield with Minted).
Forerunner is a work that captures the human emotion of a man in agony. Overfield’s work serves as a
profound exploration of human emotions, offering a visual language that transcends the constraints of
realism. Through distorted forms and bold expressions, he unlocks the depth of the human psyche,
creating a dynamic interplay between the internal and external worlds. As viewers engage with his art,
they embark on a journey of self-discovery, finding echoes of their own emotions in the distorted yet
resonant figures. In this symbiotic relationship between the artist and the audience, Overfield’s work
becomes a powerful testament to the universality of human emotions.

Overfield specialises in the early 20th-century art movement known as expressionist figuratism, which
uses deformed and exaggerated figures to portray the emotional and raw core of the human
experience. There are several characteristics that set his style apart as a subset of expressionism and
figuratism;

The emotional intensity, which shows how Overfield tries to convey the inner misery, angst, and
psychological feelings of their subjects. These emotions often manifest as exaggerated facial expressions
and body language and the way the figure is presented in the art. The distorted proportions address
how he purposefully alters human figures by lengthening limbs, enhancing facial features, and twisting
bodies. The emotional impact is heightened by the distortion. Loose brushwork is a trait by which
Overfield uses free-flowing, expressive strokes. The method gives the artwork a sense of urgency and
immediacy, as though the artist’s emotions were spilled onto the canvas. The importance of his style is
multifaceted. It emphasises the elements of pain, longing, and inner turmoil that the viewers can relate
to by addressing the emotional and psychological aspects of the human experience. It highlights
psychological and social problems, illuminating effects of conflict and social alienation of people living in
a contemporary society. Overfield’s expressionist figurative art has the potential to evoke psychological
resonance, triggering a cathartic release of emotions for both the artist and the viewer. The distortion of
figures and the intensity of color contribute to an immersive experience that goes beyond the surface,
delving into the recesses of the human psyche and providing a platform for emotional exploration and
release.

Overfield creates an immersive and universal experience by allowing viewers to feel and delve more
deeply into the emotional heart of their subjects through exaggerated figures and emotional strokes. It
strikes a profound chord in viewers because it shows strong, unfiltered feelings. It captures the
psychological and emotional struggles of the era, allowing viewers to relate to the societal and personal
feelings that are common, presenting a more critical perspective on how contemporary problems affect
people’s mental health. He often states that he loves the freedom of expression in art, as well as
embracing the accidental, and making a lasting image out of immediacy (Overfield 2016). He began with
comics and poses of power and heroicism, eventually expanding out into figuratism; it shows a clear
progression of work from its infancy to what it is now. Expressionism in folklore often manifests in a
theatrical manner, with scenes and characters taking on a heightened, almost ritualistic quality. This
dramatic rendering of folkloric elements serves to emphasize the significance of the narratives within
the cultural context, making them more than mere stories but rather communal expressions of identity
and shared experience.

My own work addresses the effects of the human emotion, as well as poor mental health, and how
debilitating it is to me; how my emotions can be unruly on certain days and how I see the world around
me through my skewed lens. I enjoy addressing possibilities of the twisted human figure as a forceful
means of communicating my inner turmoil and existential angst, alienation, and emotional turbulence, it
tells a story of my own emotional experience. I have been experimenting a lot with the human figure in
my art, using Overfield as inspiration in my own evaluations of the form. I have tried being very
expressionist in my uses of charcoal, graphite, and paint, such as his work uses. Overfield states that he
likes to be authentic with his work, that it feels right to him (Overfield with Forth), and I feel like my
work is right to me, that it describes what I am feeling on the inside at certain times, letting my own
paintbrush and pencils speak for me and express my emotions.

Bibliography:

Interview with Forth Magazine (unknown date, only shows transcript)

https://www.derekoverfield.com/forth-interview.html / Accessed 31/10/23

Interview with Arts Illustrated 2014 https://artsillustrated.com/derek-overfield-artist/ / Accessed

02/11/23

Interview with Minted (unknown date) https://www.minted.com/julep/2016/03/22/meet-a-minted-

artist-derek-overfield/ / Accessed 05/11/23

Interview with Domino (2016) https://www.domino.com/content/minted-artist-derek-overfield/ /

Accessed 06/11/23