Skip to main content

Six of the Best, Part 15

Part 15 of an interview series in which I invite artists to respond to six questions about art, process, and creativity  (Part 1Part 2Part 3,Part 4Part 5Part 6Part 7Part 8Part 9Part 10Part 11Part 12, Part 13, Part 14) . Today's artist is Lisa Beck, who lives in Brooklyn, New York.

Double Burst, 2012, enamel on mirror mounted on painted masonite, each panel 12x12 inches, 12x 24 overall

Double-Double, 2010, acrylic on mirror 96 x 144 inches

Philip Hartigan: What medium/media do you chiefly use, and why?

Lisa Beck: That's a seemingly simple question, but I'm not sure how to answer the "chiefly" part, because I make many different kinds of things with many different kinds of materials. Seeing as I consider myself a painter, I guess the simple answer is paint (oil, acrylic, enamel, ink, gouache). I paint on wood panels, canvases, mylar, walls, and lately, glass mirror. I also make sculptures/ installations, using glass-like acrylic balls, galvanized steel cable, hardware, panels, paintings, stainless steel spheres.

I like to use materials with strong enough personalities so that they can guide me as much as I guide them.

Philip Hartigan: What piece are you currently working on?

Lisa Beck: Lately, mostly painting on mirror, broken mirrors that I put back together after painting each piece. I received the great gift of a 4 ft x 8 ft piece of mirror that broke, so I'm having fun with that. I recently exhibited a 20-year old piece that consists of small painted panels that are joined together with steel cable, connecting the panels hanging on the walls, with others that hang in a sort of tassel from the ceiling. It has inspired me to revive this series and make some more works in this vein.

To Here Knows When, 1992, oil, mylar, acrylic on panels, steel cable, hardware, dimensions variable 

Philip Hartigan: What creative surprises are happening in the current work?

Lisa Beck: Working with mirror, it's wonderful how diluted paint pools and dries on it in crazy ways. I often need to leave it overnight to dry before I can see what it's really going to look like.

Philip Hartigan: What other artistic medium (or non-artistic activity) feeds your creative process?

Lisa Beck: Music, gardening, stargazing, cooking. 

(foreground)These I , 2011, stainless steel globes, steel posts, approx 85 x 48 x 28 inches
(background)These V, 2011  stainless steel globes, steel posts, approx 67 x 36 x 24 inches

Philip Hartigan: What's the first ever piece of art you remember making?

Lisa Beck: A parrot drawn on construction paper with crayon, cut out and mounted on cardboard so I could perch it on my shoulder. As I recall, a lot of tape was involved.

Philip Hartigan: Finally, and you can answer this in any way that's meaningful to you: why are you an artist?

Lisa Beck: Because it's the best way I can address and honor the amazing accident of existing.

If you liked this interview, and you'd like to keep up to date with the series, why not Subscribe, or sign-up via Google Connect, using one of the options over on the right? Thanks, and keep creating.

Popular posts from this blog

Restoring my Printing Press

I've just finished restoring and assembling my large etching press -- a six week process involving lots of rust removal, scrubbing with steel wool, and repainting. Here is a photo of the same kind of press from the Chicago Printmakers Collaborative: And here is a short YouTube video of me testing the press, making sure the motor still works after nearly seven years of lying in storage:

Brancusi in Plastic

Artist Mary Ellen Croteau is showing these columns made from recycled plastic cartons and lids in the window of the Columbia College bookstore on Michigan Avenue. They are a playful homage to Brancusi's "Endless Columns", with a serious environmental message for our times: Image copyright Inhabitat.com and Mary Ellen Croteau Mary Ellen also runs a wonderful experimental art gallery in a window space in west Chicago, called Art on Armitage . I will be exhibiting a mixed media piece there during August 2012.

How to etch a linoleum block

Linoleum as a material for printmaking has been used for nearly a hundred years now. Normally, you cut an image out using special gouges similar to woodcut tools, cutting away the lino around the image you want to print. This is called relief printmaking, because if you look at the block from the side, the material that remains stands up in relief from the backing material. You then roll ink with a brayer over the surface of the block, place paper over it, and either print by hand or run it through a press. You can do complex things this way (for example, reduction linocuts), but the beauty of the process is that it is quick, simple, and direct. Incised lino block, from me.redith.com Etched lino block, from Steve Edwards A few years ago, I saw some prints that were classified as coming from etched linoleum blocks, and I loved the textures I saw in them. In the last few months, I've been trying to use this technique in my own studio, learning about it as one does these d