... Creating the climate for a sanctuary requires attuning oneself with dimensions that surpass the pedestrian. It was evident that she would work with the elements that she knew best: color and light. She would be more like an orchestra director than a Renaissance master; her contribution would be to distribute a symphony of color in harmonic patterns and, with the magic of light and shadow, create an ambience that would throb with the resonance of transcendence.
The result was a space that glowed like an illuminated manuscript brought to life. A constant crescendo of color transported the mind beyond the grip of memory and the distractions of desire, where a universal oneness replaced the static of the ego. Color spoke in a medley of voices, as clear and concise as if each tone were the representation of a parable or a lesson.
Sutil spent two years instilling the chapel with the pith of life and a glimmer of afterlife. When the project was completed, she knew her next step had to be a forward-moving one. There was no turning back. She centered her focus on her own existence, on her own commitment to life. She was aware, as never before, of the potential of its infiniteness. She had passed beyond Yau’s “shifting edge of the unknowable”. She had become one with the “invisible”...
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