Penetrating the Mystery of Music,

Ears and Heart Totally Receptive and Brush in Hand

or Creatively Living One's Myth 


Daisy Mottier Beltrami entered this project without really understanding the radical changes it would bring about, not only in the basis of her creativity but also in her life.

Now that it is finished, is she fully conscious of what has taken place and the possible ramifications?  C.G. Jung spoke of the action of the ?nbsp;transcendantal function ?that is activated without one's being aware, that allows one to take meaning not only from the form that evolves but also from the comprehension of the gesture and its source.  For me, this is the real work of creation, through which the individual accepts to be transformed by that which he transforms. 

I have followed Daisy's creative development for a long time now.  I think that with this last work she has reached an important step, not only in the  magnitude, the technical demands, and the evident artistic quality of the results, but especially by a real and full creative encounter with herself, with all that inhabits and moves her, also with all that could and can block her on her personal path.  To a certain degree, for her perhaps more than for others, this vital encounter was traced in her destiny;  in any case, it has allowed her to create an alchemical synergy artiste-individual/creation-matter through which both sides expand miraculously. 

In choosing intuitively to undertake this work, and embracing consciously the ambitious notion of taking a musical work as a support for her painting (and not just any music!)---with all the difficult problems inherent in the passing from one expression to the other--- her inspired unconscious mind had another project, that of ?nbsp;creatively living her myth ? the only way to approach a personal destiny in the language of a universal plan.  Without having really wanted to, she could graphically confront her profound existential questions and  transcend her wounds. 

Daisy joined my painting classes in 2000 at an extremely painful moment in her existence, that she experienced as an impossible and untenable twist of fate:  the death of her son.  ?nbsp;Mater dolorosa ?...A place that became vacant at the last minute, by some coincidence that seems significant in hindsight, seemed to be offered to her as a support and a creative response to her turmoil.  I felt this intuition immediately, and this magnificent work that she offers us here is the full confirmation of it.  This musical theme so dear to her, embraced as a pictural exercise, has become her own and through her work she has taken it on fully, from the inside out. 

Daisy went through numerous stages before the completion of this project.  I would first consider the two large works, "Departure" & "Breaking the line", accomplished in the ?nbsp;Ici, Maintenant ? studios at Secheron, which show her boundless energy and technical know-how in taking on, in large format, certain themes already present in her background.  Following these, she undertook the complex project of five square paintings all of the same dimension, brought together in a cruciform mandala designed to exercise her possibilities in creating a coherence among these independent images;  this experience was necessary before taking on the monumental polyptyque which finishes the series.  We also find more recently the ?nbsp;Leporello ? which makes visible this still-open wound and the urgency of a question which still goes unanswered.  But before any of this, there was the point of departure for this monumental work, a performance during which she painted in our presence while listening and sharing this intense Stabat Mater by Jean-Claude Schlaepfer.  

The door was open, Daisy was ready to penetrate the mystery, ears and heart totally open and brush in hand, and to confront herself The Nigredo... 

In her outlines, the wide and vigourous use of the dominants black, white and red –the three habitual colours of the stages of an alchemical action called nigredo, albedo, rubedo?/i>immediately favoured the expression and the transformation of her profound revolt.

In the final, imposing quadriptyque of the Stabat Mater, it is interesting to understand the presence and the meaning of the gold colour in which the ensemble seems to bathe.  The golden tones speak both physically and metaphorically of the alchemical transformation of lead to gold at the heart of this work and its theme. This non-colour in fact has the specific quality of changing in function of the ambiant lighting;  its components may appear very dark, nearly black at certain places or, on the contrary, seem nearly white.

We discusssed this question with Daisy in view of the choice of lighting used for the reproductions of her work in this book.  To underline the singularity of this surface, I believe now that the best way would be to show several different versions, if it were possible, since the change in the tonality according to the lighting or the deambulation of the spectator is really an inherent part of the work.  It underlines the passage, so important to the Stabat Mater, that permits the painfully black suffering of grief to become the illuminating golden glow of grace. 

I wish for Daisy to continue with the same force and happiness along this deep and difficult path of creation which, without explanation, is the source of meaning and life. 

        Gilbert Mazliah, Painter and  Art Teacher                                                                  Back...

Mouresi, Pélion, Grèce, 25-26 septembre 2008