Myriam Bessette

Conciliabule | 2006-2012

from Perte de Signal Plus

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Myriam Bessette and Robin Dupuis Audio installation | Video excerpt The multi-track work invites visitors to perambulate through an auditory visual architecture and to enter into a conciliabule with the materiality of sound. PUBLIC EXHIBITIONS Centre Nationale d'Exposition de Jonquière, 2012 Centre d'exposition d'Amos, 2012 Centre d'exposition Raymond-Lasnier, Trois-Rivière, 2011 TNG, Calgary, 2009 Fluctuating media art gallery, Stuttgart, 2009 Centre d'exposition Expression, Ste-Hyacinthe, 2007 Centre Oboro, Montréal, 2006

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Myriam Bessette

Created by Perte de Signal Plus

With a bachelor’s degree from the École des arts visuels et médiatiques de Montréal (UQAM), Myriam Bessette joined Perte de Signal in 2001. Her work is mainly oriented toward installation and single-channel digital video in which she experiments with drawing and sound sampling. Her videos have been screened in numerous festivals, including Sonar (Barcelona), the New Zealand International Film Festival (Auckland), and Images

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With a bachelor’s degree from the École des arts visuels et médiatiques de Montréal (UQAM), Myriam Bessette joined Perte de Signal in 2001. Her work is mainly oriented toward installation and single-channel digital video in which she experiments with drawing and sound sampling. Her videos have been screened in numerous festivals, including Sonar (Barcelona), the New Zealand International Film Festival (Auckland), and Images du Nouveau Monde (Quebec City). Her digital video installations were presented in Canada, Belgium, France, Mexico and Spain.

Facing Bessette’s moving images, one can’t tell which component takes precedence, as the process underlying these works hardly seems to favour the visual. Sounds mingle with the images, not in juxtaposition or superimposition, but as an interlaced form of video art arising from experimental animation. These works blink at us, visibly and audibly at once, for while light and colour transport us into an hypnotic formal universe, we are just as engrossed in the emanating resonances, which seem to sound out to us. We explore the crackle and sparkle in a kind of chromatic sputter, which, in the end, draws a pause in the viewing.

While the artist doesn’t film images from reality, she does collate samples of her own voice — the basis for all the sounds she uses — and assembles pictorial constructions on paper. She then cans her drawings and creates media objects that she mounts, colours, animates, sets in motion, ripples, and otherwise bends to her purposes. Far from materializing out of thin air, the image first appears as a tangible, material form. The modulations the artist orchestrates plunge us into an ethereal space composed of waves and images, given organic shape by their curvatures and by their movement across the screen. We are immediately fascinated, and, as our body perceives the transient images, we become their resonating chamber.

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