Sol Rezza (born April 7th 1982, Buenos Aires, Argentina) is a sound artist, sound designer and sound jockey focused on the transformation of soundscpaes into strange sound narratives. Her works are developed from field recordings of her own, sound objects from nature recorded by the artist, vocal experimentation and computer generated virtual instruments used as sound modulators. Her pieces are noted for their unconventional way of working, achieving unique sound textures for each of her compositions through the layer modification of previously recorded sounds. The narrative and the constant play with the symbols of language is a fundamental point throughout his work.


She has studies on communication, sound engineering and radio production. She focused on the production of radio art and sound art pieces for several spaces. The majority of her works are produced to be broadcasted via radio and/or internet or for exhibit on different environments like museums, festivals, cultural facilities and open public spaces.

She has done several pieces of experimental radio, radio-art, sound-art, soundscape, radio as performing art as well as pieces of multimedia experimentation and sound installations around the world. She also works on the field of space sound design for several events and museums; as well as in the advertising field. She writes essays and articles magazines focused on sound-art and experimental radio both in English and Spanish. She has given workshops and lectures at universities, cultural facilities and international festivals from around the world.

I face my work from two narrative approaches: the first one relays on the idea of time. To inquire about the various ways we humans understand and interpret time through our senses, starting from core questions on what we “perceive” and we “do not perceive”. Time defined not only as a physical phenomenon which we are all exposed to, but as a narrative structure that can be modified and altered to break down the notion of "temporary."

The second approach is related to the sound treatment of the piece. I try to challenge the listener highlighting undefined sounds and those we commonly call noise to make them also tell a story. In this regard I want to question the sensations produced by the long exposure to certain sounds and the sense of rhythm that can arise from this listening, the music and the play of order and disorder that appear unexpectedly in the sound story.

In this sense my working material is focused on the modification of self-recorded soundscapes and sound objects, which are the base of each piece. I subsequently merge this sound base with computer-generated virtual instruments without MIDI connection.