Meriel’s research expands on her existing creative practice, investigating nuances of the art – life relationship in order to develop a compositional practice that encompasses the music, theatre and visual art of everyday life.
Her work in this area began with Staring at the Bin, a series of music theatre/performance art miniatures performed in public spaces at the Munich Biennale 2016. By engaging a compositional vocabulary to precisely choreograph sounds and gestures of normal behaviour specific to a space, subtle and fleeting performances explored territory on the borders of perception. The events were unannounced, creating a fundamentally ambiguous experience around whether they are coincidental or organised, offering an invitation to explore these experiences and real-life coincidences as artwork.
Her current research investigates how this method can affect the perception of everyday events as art, also using this work as a seed to develop a concert music theatre practise. Experimenting with subtleties along the border between coincidence and intended action, or intended action and mistake, she is investigating if an action’s classifying label can be removed, enabling a more immediate experience, allowing for a closer integration of art and the everyday.
Considering the fundamental relationship between physical actions and sounds, Meriel is developing artwork in which music, theatre and visual art are intrinsically linked by equally exploring the contextual, theatrical, visual and sonic.