A Quiet Revolution: Interview with Martin Beck ďI want my work to reflect this through the study of the nude form as something that uplifts our experience of being human. This is not prescriptive art and does not have the power to change the world. But it might help spark a quiet revolution in oneís own experience.Ē Martin Beck is a visual artist living and working in Lexington, KY. He has taught drawing and painting at Centre College, Danville, KY; Carnegie Mellon University, Pittsburgh, PA and The University of Pittsburgh, Pittsburgh, PA. Beck has exhibited widely with solo shows at the Contemporary Arts Center, Cincinnati, OH and the Jersey City Museum, NJ among others. Recent group exhibitions include Mixed Media at Site:Brooklyn in Brooklyn, NY Pride and Prejudice at ARC Gallery, Chicago, IL, Art and Fear at The Arts Council of Southeast Missouri, Cape Girardeau, MO; Art Connections 13 at George Segal Gallery, Montclair, NJ; FL3TCH3R Exhibit: Social and Politically Engaged Art at Reese Museum, Johnson City, TN and Nude at Manifest Gallery, Cincinnati, OH. His exhibitions have been reviewed in The New York Times and The Sunday Star Ledger among others and has also been featured in American Artist, (July 1999). In 2019 Beckís work will be included in the publication International Drawing Annual 13, Manifest Press, Cincinnati. Martin Beck received two New Jersey State Council on the Arts Fellowships (1994, 2000). Beck holds a Master of Fine Arts degree from Carnegie Mellon University and a Bachelor of Fine Arts, Cum Laude, from State University of New York at Buffalo. In April 2009 Martin Beck participated in the two-week residency MMMart, pomlad in Medana, Slovenia. His work can currently be seen at Mixed Media at Site:Brooklyn, NYC; and palēimpēsest: bearing traces of earlier forms at ARC Gallery, Chicago, IL. What is your creative process like? You tend to work on prepared paper. What do you typically do to prep a sheet of paper? Iíve recently gotten involved with the process and the nature of materials. My main tools are chalk pastels, brushes, a random orbit sander, sanding blocks, atomizers and sometimes a garden hose. Mark making is an important element as I build up the surface over time through multiple life drawing sessions. Iím interested in creating a visceral experience for the viewer and provide a journey into the art-making process. There are two methods I use to start a piece. The first begins with a drawing from life on a blank sheet of paper. This could be a sheet of gesture drawing or some other result of a life drawing session. These drawings are often incomplete. So, after the session, I manipulate them Ė prepare them by applying water or pigment (usually both), or sand them, apply to spray paint and let them dry in the sun on a textured surface. This provides a rich ground to work on. The second method involves preparing the paper with various media: gouache, dry pigment, graphite, spray paint and acrylics. After either of these two methods, Iíll have a toned piece of paper with arbitrary marks and color that seem like abstract paintings. I use this paper in life drawing sessions using some of the accidental marks, color, and texture as information to enhance the act of drawing. I respond to the paper almost as much as to the model. A resulting unsuccessful drawing on prepared paper might be further manipulated by obscuring the image with water, medium, and sanding. In those cases, the ground becomes quite thick with layers of color and texture. The final piece is more like a painting than a drawing. As a result of all the layers, these works on paper often contain palimpsests Ė ghost figures from previous drawings - that evoke half-forgotten dreams or alternate realities. Or, as the 4th-century philosopher Augustine of Hippo wrote: ďA present of things past, a present of things present and a present of things future.Ē What about the human form inspires you? I am fascinated by the Neue Sachlichkeit artists of pre-World War II Germany. Their work was informed by the experience of the First World War, the turmoil of Germany society at the time and the dehumanizing aspects of new technology. We are living through a similar time with our own seemingly endless wars and terrorism, climate change and income inequality, gun violence, racism, and bigotry. We are distracted from our lives through the ubiquity of social media and the hand-held device. We are jaded, selfish, insensitive and addicted to convenience and immediate gratification. It seems like society has a metabolic disease. So, we are living in a difficult and interesting time. I want my work to reflect this through the study of the nude form as something that uplifts our experience of being human. This is not prescriptive art and does not have the power to change the world. But it might help spark a quiet revolution in oneís own experience. I want my work to help ďexpress and overcome our humanityĒ (a quote that I, unfortunately, canít attribute). Iíve written elsewhere that our bodies are road maps of our individual experience. Part of that is the modelís self-expression. Hairstyle, tattoos, piercings, body hair or lack of, makeup or lack of are all clues to their identity. My work also then presents an emphatic confirmation of personality and a space to contemplate and celebrate humanity in all its variety. 385.jpg How has your style and technique evolved over the years? Iíve always been a figurative artist because of my fascination with people and how we live in our culture. My work used to consist of large multi-figural paintings with social and political themes, based on photos and invention. These were demanding pieces to make, made more difficult since I have Ankylosing Spondylitis (AS), an autoimmune arthritic disease. For years I was able to control it using over-the-counter drugs, but when the disease intensified in 2012, I had to make some changes. Standing or sitting at the easel for extended periods is no longer possible. Iím currently focused on drawing and painting from life in two to four hours long sessions with the model. These sessions are challenging, but the level of intense observation and control necessary allows my body to ďfall away". Itís like moving meditation. And focusing on another person in this way is uplifting and liberating. These physical limitations also have me working in a more quick and loose way. The tight control I used to exercise isnít possible. Iíve had to ďlet goĒ and let the cosmos help me draw through accidental mark making. As a result, there is a certain amount of surrealism and abstraction in my work. Iíve also developed a sense of how ephemeral our experiences are. Working from life is like trying to capture time. The materials I use are fragile. The paper, pastel and water media are supple and vulnerable. Iíve come to believe that the nude speaks most directly of the human condition. To study anotherís face and form is to understand their essential humanity: their frailty and imperfection. My own arthritic condition has allowed me to see more of these qualities in the others. Iíve also found that if you study anyone with the level of intensity my kind of figurative work requires, you see their beauty and strength as well. What is your favorite thing to focus on when you are drawing someone? In a way, I am more concerned with the act of drawing than the finished piece. Just as people are complex the attempt to depict them involves many variables. I try to let the figure emerge from the ground and let the modelís presence inhabit the prepared paper. It is remarkable how palpably present the model is once you begin to draw them. The model often looks inward as they try to hold a pose. Some of that inwardness is outwardly expressed, not only in their face but also in their body. Iíve come to think of these pieces as portraits, even when the face isnít visible or there is no likeness. How have you overcome setbacks in your career? There are times when itís difficult to deal with the career aspects of art-making, especially in a society that prizes money-making above all else. But I recall that the opportunity to make art is a privilege. Having a voice in our society through art even more so, and as such a responsibility. In my practice, the concern is not with the finished piece but the experience of art-making. For me each piece is like a journey Ė and I feel a responsibility to share that with my audience. The act of drawing expands outward into other parts of my life. Whatever happens, is part of the larger journey of trying to be in the moment. This attitude is in part informed by my AS, which has forced me to deal with physical limitations. Despite treatment, itís a disease that waxes and wanes and so the other shoe is always about to drop. Tessa Miller wrote recently in the New York Times about having a chronic disease that ďÖyour relationship with yourself changes. You grieve a version of yourself that doesnít exist anymore and a future version that looks different than youíd planned.Ē ( And maybe thatís the source of my current fascination with the nude Ė to capture the artist and model in such a fleeting moment so that the four-hour session endures. Despite inherent fragility. What are you up to in 2019? Anything we should be on the lookout for? My solo exhibition palēimpēset(2): bearing traces of earlier forms currently on exhibit at ?MS Rezny Gallery is an exciting event for me as it is my first solo show in my new home town, Lexington, Kentucky. Seventeen recent works will be on display through March 30. A two-person show at the Lexington Art League tentatively titled The Present of Things Past will be on view July 26 Ė August 23. This exhibition of figurative work by myself and Brandon C. Smith should have interesting juxtapositions and intersections. Brandon and I both run life drawing sessions here in Lexington. His on Thursday nights at the University of Kentucky College of Fine Arts and my Sunday afternoon in my studio. Two somewhat unusual pieces will be on display at the One Shot exhibition at Manifest Gallery March 8-April 5 in Cincinnati, OH. This show features works done in one sitting and my works on paper generally evolve over time. These two pieces came together in one session. My work is also included in the publication International Drawing Annual 13, Manifest Press, Cincinnati, available mid-2019. An interview with images is currently live on Please visit for more information about Ankylosing Spondylitis and related chronic arthritic diseases.

Patriarchal Funk #5, 2019

Patriarchal Funk #4, 2018

Patriarchal Funk #3, 2018

Ties That Bind #2, 2018

Home Grown #4, 2018

Lasting Influence, 2018

Seated Figure and Palimpsest, 2018

Triceps, 2018

Her Matriotic Wing, 2017