Beothy was born during an allied air raid on Budapest; she witnessed the horrors of World War 2, the following Communist occupation of Hungary, and the Bloody Revolution in 1956. During her earlier life Beothy experienced the extreme privations of living in the materialistic, atheistic world of the Communists. When she escaped to West Germany in her young adult life she faced an advanced Capitalist society that held primarily Christian beliefs. She has since travelled to India where she encountered Buddhism, and during a spell in Australia she began to take tentative steps into making art. A formal art education in Britain provided Beothy with the means to express the images she retained of “terror, deprivation, and violence, mental and physical limitation mingled with joy, love and inner peace”

Unsurprisingly, Beothy produces work that concerns her personal history, she has observed the limitations that the rituals of religion and ideology have on the mental, physical, cultural and creative aspects of human life, and seeks to describe them through her work.

On a recent visit to Morocco she encountered for the first time, the “younger more, more agile” culture of Islam. Beothy was deeply moved by the physical presence of Islam in Morocco and has responded to this experience by creating ‘Moroccan Impression’, a sculptural piece that speaks of her concerns with the limitations of ritual, and of her desire to transcend fixed views that can be the source of division and intolerance.

An earlier work, ‘Confessional’ (2002) also addresses the subject of limitation through the use of religious ritual. Beothy believes in the unlimited potential of a human being, and sees many forms of formal religion as constraints in the development of this potential. Of ‘Confessional’ she says “Until we release ourselves from the endless cycle of confession, we don’t take responsibility for our progress towards our path of self realisation”