Anne Vanschothorst approaches artistic creation as an act of listening. Based in Den Haag, Netherlands, she has developed a body of work that moves fluidly between music, sound art, poetry, visual expression, and installation. Her practice is rooted in curiosity, silence, and attentive observation, allowing each project to emerge organically from the meeting point of imagination and experience. More than a harpist or composer, Vanschothorst is an artist who treats sound as a living material capable of carrying memory, place, and emotion beyond conventional boundaries.
That philosophy finds a remarkable expression in “RIFF,” a collaborative release created in collaboration with producer and sound designer Thijs de Melker. Inspired by Bob Gramsma’s land art monument Riff, PD#18245, the piece begins with a physical location and gradually transforms it into an immersive sonic environment. Situated in Flevoland, a Dutch landscape reclaimed from the sea, the sculpture preserves the imprint of an excavated space. This relationship between absence and presence became the conceptual foundation for the music.
“RIFF” originated as an acoustic harp composition before evolving into something broader and more exploratory. Through layering, spatial processing, and subtle electronic textures, the original recording was reshaped into an ambient work that exists between contemporary classical composition, environmental sound, and sonic storytelling. The transformation mirrors the sculpture itself. Just as the artwork captures a void and gives it form, the music captures a fleeting moment and allows it to expand into an imagined world.
What makes the composition particularly compelling is its refusal to rush. The piece unfolds patiently, encouraging listeners to slow down and inhabit the spaces between sounds. The harp remains central, but it is surrounded by evolving harmonies and atmospheric textures that suggest shifting landscapes, distant memories, and underwater currents. The result is less a traditional song and more an experience of attentive listening.
This approach reflects Vanschothorst’s wider artistic vision. Her work consistently explores how sound interacts with physical space, language, and human perception. Whether creating recordings, installations, audiovisual projects, or collaborative works presented in museums and international festivals, she invites audiences into a deeper engagement with the unseen dimensions of experience.
“RIFF” stands as a powerful example of that ongoing journey. It demonstrates how art can connect landscape, history, and imagination while creating room for reflection. In a fast-moving world, Anne Vanschothorst offers something increasingly valuable: an opportunity to pause, listen closely, and discover meaning in places where words alone cannot reach or fully remain.