About

Tatiana Paris is a composer, guitarist and sound artist whose work moves fluidly between improvisation, contemporary composition and expanded song forms. Shaped by a nomadic upbringing, her music is grounded in listening, texture and physical presence, weaving together rhythm, noise, voice and space.

Coming to formal music studies later in life, she began studying jazz guitar after a transformative journey to India in 2003, later training at the conservatory with Philippe Petit. Her path has since unfolded through a wide range of collaborations and contexts, from improvised music and experimental ensembles to songwriting and theatre.

Tatiana Paris is deeply engaged with sound as material. Her practice encompasses prepared guitar, voice and text writing, often using Auto-Tune as a compositional tool, modular synthesis, hertzian acousmonium systems, field recording, and tape-based work with Revox machines. She treats sound as a physical and malleable matter rather than a documentary medium. Her work often explores fragility, resonance and memory, unfolding through attention to timbre, spatial listening and the conditions of sound transmission.

Her solo project GIBBON (Carton Records, 2022) brought together prepared guitars, objects and cassette tapes in a raw, tactile performance practice, presented widely across Europe. In 2025, she premiered t h a l l e, a second solo work where prepared guitar, voice, organ and modular synthesis meet, navigating a space between noise-inflected song and spectral minimalism.

That same year, she developed Hyperballad, a public-space performance for hertzian acousmonium, combining composition, field recordings, voice and large-scale spatial sound diffusion. Conceived as an immersive and site-responsive work, Hyperballad explores listening as a shared, situated experience. The project was selected as a laureate of the a/CNCM call for projects (2026–2027) and forms part of an ongoing research into sound, space and collective perception.

Alongside her personal projects, Tatiana Paris has composed several contemporary music works for small ensembles and co-founded Séismes, a collective of six improvising musicians. In 2025, she received two commissions from CNCM Ici l’Onde (a piece for acousmonium and Hyperballad), and composed the music for Faire le beau, a theatre production directed by Bérangère Vantusso, artistic director of CDN de Tours.

Her work is also deeply informed by long-term collaborations in Mali, developed through numerous research and performance trips. She has been involved in the Mousso Academy, a program dedicated to transmission and creation with women musicians, and performs within Kogoba Basigui, an ensemble led by Eve Risser bringing together French and Malian musicians, including singer and bolon player Nainy Diabaté. These experiences, alongside her growing familiarity with the Bambara language, have profoundly shaped her approach to rhythm, voice, oral transmission and collective music-making.

Working across both alternative and institutional networks, her recent collaborations include Musungu (performative trio centered on dance), Séismes, Karsten Hochapfel (Duet), The Bridge (Hidden Clouds), Seb Martel (Saturn 63), Christine Salem, This Is The Kit, Surnatural Orchestra, Eve Risser’s Red Desert Orchestra, Thomas de Pourquery, Théo Ceccaldi, Simone, La Belle Autre, Sandra Nkaké, Winston McAnuff & Fixi, Africolor, Emmanuel Eggermont, and the soundtrack for the film Samir dans la poussière by Mohamed Ouzine.