Paloma Klisys’s sound art practice emerges as a consistent development of her research into the relationship between written and spoken poetry, articulating language, listening, and presence as interdependent fields.

 

Her work focuses on transforming poetic procedures into sonic and performative devices, where sound operates as a medium of relation, mediation, and meaning-making.

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Working both solo and collaboratively, Paloma develops sound pieces, art radio works, and live performances that combine pre-composed material with real-time manipulation of sound fragments and images.

 

These works balance compositional rigor with relational openness, incorporating voices, noises, and environmental interferences in a controlled manner, allowing each presentation to respond to its specific context.

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Her sound art production investigates sound as a situated experience, activating listening as a critical and poetic gesture.

 

The works operate between body, technology, and space, configuring sonic ecologies that adapt to a wide range of formats and presentation contexts — from experimental sound concerts and audiovisual performances to immersive installations, radio works, and public space interventions.

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By reconfiguring writing as a performative practice and listening as a structural axis of composition, Paloma Klisys’s work positions itself firmly within the field of contemporary sound art, engaging with curatorial frameworks that value artistic research, formal experimentation, and sensory impact, across institutional, urban, and independent contexts.