Bespoke instruments that are unfamiliar yet uncannily resemble a sci-fi gene-splice of record and turntable, or everyday objects that sing and sound in alien ways – Myriam Bleau investigates the spaces between objects and their expectations, using gesture and performance to animate and activate her aesthetic inquiries.
Tying her multi-instrumentalist background – cello, guitar and piano along with instruments of her own creation – with audiovisual art, Bleau creates sound installations and performance-specific musical interfaces that move beyond the screen, complex systems that let her explore the boundaries between musical performance and digital arts. Musically, her hybrid electronic practice integrates steady beats and half-recognizable melodies into electroacoustic atmospheres: she's built music-embedded, brightly lit acrylic tops and spun them like turntables, created a large music box instrument that plays fragments of horizontally stacked engraved vinyl, snapped wine glasses apart and let the pieces vibrate into a music of their own, and orchestrated the glitching electricity of incandescent light bulbs. At festivals and in galleries, Bleau has presented her work internationally, including at Transmediale, Sonica Now, Scopitone, Lev and Sonar.
At MUTEK, Bleau performs an advanced version of her audiovisual piece Soft Revolvers, a project she designed using four large translucent acrylic tops, lit by LEDs and equipped with gyroscopes and accelerometers, their sensors collecting motion data that informs musical algorithms. As she spins the instruments' circular bodies, a halo of light emerges and the music plays – spliced and variably pitched or in clearly rhythmic sequences, a completely absorbing solitary composition never to be heard the same way again.