“Every work of art represents a new Reality which exists nowhere else outside of its one existence”. Hans Hofmann
Apocalyptic abstract expressions of consciousness are in itself the blueprint of Miriam Beerman’s creative behavior, a result of her formulated perceptions, burdened by her existential task of creating and sustaining a meaningful personal cosmos. Difficult impulses or thought present a contemplation of her social and spiritual ram by unlocking the mining of her perceived synergetic symbols. Symbols that take us beyond ourselves: “the present, while maintaining the link to the past, is also the shadow of the future or the moment of synthesis… in a way it is an odyssey to grasp reality – more specifically- searching to grasp that Being that the fullness of reality is.” By unlocking the mining of her symbols, and paraphrasing Carl Jung, we can gain awareness into her creative process, thereby helping to resolve our inner problems and conflicts.
Miriam’s creative process aims to resolve the inner conflict as an ethical endeavor and provides a conduit for development of expression of herself – perceptions as “response to the brutality of our past and present time.” She is a “painter of pain: physical an emotional, her own and the World’s,” not as Vivien Raynor claims that “her metamorphosis conveys no redemptive faith.” Miriam Beerman embraced a journey that cannot escape wrath and points toward her wounds. As a result, she perceives that in her own conscience, she is obliged to her true human perception; one that places her in a metaphysical dilemma: the absolute of being “nothing” (“nihilism” in synchronicity with Jean Paul Sartre) or in searching to grasp reality (embracing Becket’s claims to be “still” and “wait”- “waiting for Godot”).
Miriam’s introspective “being self” projects apprehension, and in the solitude that she freely embraces – that of being alone – her work conveys a reflection on the “survival” of the human spirit. She make us understand in the ode to Oswiecim that “the life of Spirit is not the life that shrinks from dead and keeps itself untouched by devastation, rather the life that endures it and maintains itself in it,” by converting this negativity through a “magical power” in a positive being of the subject and by providing the ability to evaluate the ongoing self-actualization toward the final conversion to the origin of things: “I begin by resisting what I think I already know, so that what I can find out is what I know that I didn’t know I knew.”
Miriam’s opera alluded to the prediction of the enemies of the truth, and as the river of water is turned into blood in temporal judgment, Rivers of Blood evokes truth from the antique echoes of the soul, self-buried beneath our consciousness, waiting to be re-discovered and transformed from a perception of dispensation of death and terror to a reality of grace and truth.” Blood has an adhered dichotomy: life that is passed to death and death that is passed to life through suffering. Essentially, Miriam Beerman’s works are a great spiritual expression of her quest to “transcend the visible and reach the visionary, to make the un-seeable seen, to paint the un-paintable and the so far un-painted.”
