Myriam Bessette

While the artist doesn’t film images from reality, Myriam Bessette does collate samples of her own voice — the basis for all the sounds she uses and assembles pictorial constructions on paper. She then scans her drawings and creates media objects that she mounts, colours, animates, sets in motion, ripples, and other-wise 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.

Written by Julie Belisle

Supported by the Conseil des arts et des lettres du Québec and PERTE DE SIGNAL.

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L’utilisation du dessin et sa transformation à l’aide d’outils numériques est au cœur de la démarche de Myriam Bessette. Cette approche de la création numérique issue de l’animation expérimentale prend son sens non pas dans un retour esthétique, mais dans un rapport plus intime et sensuel avec les outils de production. Ce mouvement du crayon sur un papier interpelle pour l'artiste un rapport direct avec le matériau même de sa production. En fait, cette proximité se détermine d’abord sur la table à dessin où elle compile des croquis qu'elle anime par la suite avec un logiciel de montage. Cette étape initiale d’accumulation de dessins atténue la froideur technologique en donnant au mouvement une richesse spasmodique.

Ce projet a été réalisé avec le soutien du Conseil des arts et des lettres du Québec et de PERTE DE SIGNAL.

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Myriam Bessette

PERTE DE SIGNAL PRO

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…


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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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