about

Artist Statement

My work arises from the study of the Phenomenology of perception with particular reference to the dichotomy between Visible/Invisible strictly connected with the studies about the concept of sound landscape.
I usually compose works in relation to the environment or to experimental practices of collaborating with other artists (for instance “Chthonian Music” has been composed with sound sources by Francisco Lopez, Christina Kubisch, Massimo Bartolini, Seth Cluett, Y.E.R.M.O., Francesco Brasini, Luciano Maggiore, Gianluca Becuzzi, Andrea Marutti, Philippe Petit, Deadwood, Burial Hex, Aderlating, Utarm, Nordvargr, L'Acephale)
About the environmental works I usually make a deep investigation of particular places, making recordings like field recordings or recordings of signals from short wave radio receivers and VLF receivers, in order to compose conceptual works about the selected sites; together with a deep study about the history of the place on which I’m working on. This is the case of works like “4 Churches” – by Touch Music - that has been composed with sound sources taken from some Cathedrals or “Voices from Thelema” that has been recorded within Thelema Abbey in Cefalù utilizing short wave radio receivers. In some of my works I also play organ voice, drum and other instruments, but I never use digital sound sources.
I’m interested in reconfiguring the sound panorama through its transcendental aspects to create a dimension that is not only sound but mainly a total perceptive dimension that bring ourselves to find out a new kind of perception.

I realize works as PIETRO RIPARBELLI especially related to the world of Contemporary Art.
So each work arise from a conceptual idea turned into sound. The field in which I principally work is linked to the perception of the sound landscape and to the perception of inner states of consciousness related to other dimensions of awareness.

K 11 is a project that deals with the world of radio signals, the trans-communication and other invisible phenomena, to create a dimension where the only sound sources are signals from shortwave radio receivers and field recordings taken from very specific locations. In this project I use only sounds coming from the atmosphere and from invisible places turned into fields of drone with particular interest into the study of the dynamics of Noise.



With PT-R project I want to investigate the way to create rhythmic sound landscapes making the use of environmental sounds (field recordings) with particular reference to the world of electronic scene. The method I utilize within PT-R project is based on sampling of environmental sound sources turned into rhythmic framework.