Point of view, Vol. II. – December 2007
Author: Dr. Ferenc Vitéz
The Museum fellows visited David Beeri’s atelier
The visit of the studio of David Beeri was not only particularly relevant because at his permanent exhibition in the Mysticism Gallery located in Bethlen Street (where David and László Majoros, the leader of the exhibition, regularly provide guest artists an opportunity to introduce themselves), there was a sufficient interest for a greater knowledge and understanding of the secrets of his studio. Prospectively, the film portrait of David Beeri will be finished by Christmas by the ZDF German Television, which portrait will show us the human and artist life course of David Beeri, his family and the hardships of his artistic and human life, as well as will highlight the determining role of the belief in arts and Good in this portrayal. The documentary also reveals – as David emphasizes this fact himself on each occasion – that art and belief cannot be separated from each other.
The studio corner is now quiet, but in the silence of the order, there you can still find the trace of contest, in order that the light overcomes darkness – or according to the title of an article about his family and art published at the end of October “With belief and brush against chaos”
After all, David Beeri has been an artist since he turned to God and let Him control every deed of his, and this way he created the so called “spiritual painting”. (He had already been painting in 1979, but as he confessed, he first experienced the “moment of aghast” in 1984.)
It is also outstanding that such special attention is paid to the musical education of all the eight children (Lídia, Jonatán, Péter, Debóra, Benjamin, Barnabás, Sarolta, Dániel, Szilvia) in the family (Marta, David’s wife, who is incidentally a teacher, has the biggest role in this) and with the exception of the youngest Lídia, who is a pre-schooler, all of them are honours students. (The children regularly appear in front of an audience – there is no exhibition of Beeri or any other art-exhibitions lead by him without at least two or three Beeri offspring playing their musical instruments or sing, her voice being the instrument of the eldest daughter. Among the musical instruments they play we can find the violin, the cello, the alto violin, the trumpet, and the flute as well.)
Having been born in Nyírbéltek, having started his life from the other small village of Nyírség, called Nyírmihálydi, then having learnt to play the violin in a music school, followed by the years spent with industrial work in Budapest and working as a tailor in Debrecen, just right at the age of thirty he started to organise his own independent exhibitions in 1988 (with the help of the János Mata circle, Medgyessy studio and the teaching of masters of arts); however, his origin, talent, and the political oppression of the 80’s, made his artistic and social life impossible to pursue. In 1987 David and his family moved to West-Germany where they lived in refugee camps, but at the same time he was influenced by the western artistic orientation approach.
Comparing the Hungarian and foreign experience, hearing the calling of God stronger and stronger, he better committed himself to the spiritual painting.
He emphasizes this divine experience, which, in fact, provides David Beeri with an artistic program. According to the writer, Ágoston Székelyhidi, being a monograph who probably knows the artistic path the best, the motives of Beeri appear in the spiritual world rather than in the material world. That is why the “time” of his paintings gets outside the measurable time and we can also add that the paintings do not document the concrete events, but the state of the spirit wishes to be concretized. The still on-going creation of the world is to be sensed in a way that man is recreated in every moment in the ancient unit, searching for their own place in the light.