Conveying undertones of Art Brut, outsider art, and graffiti, Overstreet’s large scale canvases offer contemporary ‘folk’ painting as something equally primitive and commercial. In Hot Mic, his deistic figure stands with the frivolous authority of a logo, a self-styled brand of carnivalesque dumbness. Rendered in bigtop red, white, and green, the trippy patterning blares mesmerizingly against a ground of layered and shifting blacks, giving the painting’s benign motif a sinister dimension.