Studio: 6830, Saint-André #201, Montreal, Qc
Booking and other inquiries: knock knock.
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Biography (short version)

Patrick Saint-Denis (aka fullSD) is a composer and transdisciplinary artist based in Montreal. He focuses on musical robotics, digital lutherie and interactive design. Somewhere between concert, audiovisual, robotic art and physical theater, his work are regularly presented both in Montreal and abroad. He has been awarded several prizes, including the Foundation for Emerging Technologies and Arts (FETA) Prize in 2017 and the Canada Council for the Arts (Prix Jules-Léger) in 2004. He his currently lecturer at the University of Montreal.

Statement (short version)

I am interested in interactive design in its ability to project on music a set of symbols that enrich listening. My work is essentially transdisciplinary while being rooted in music. My work is also marked by a connection between the living and the non-living, between flesh and metal bodies. I am interested in anthropomorphism and the affective relation to objects, especially technological objects.

Biography (long version)

After studies in composition (conservatories of Quebec, Montreal, and The Hague) and mathematics (UQAM and Laval University), Patrick Saint-Denis (1975) obtained a doctorate in composition from the University of Montreal in 2014. Louis Andriessen, Clarence Barlow and Serge Provost are among his principal professors while Jean Piché directed his thesis titled On music beyond the borders of sound. Between 2000 and 2008 he had a prolific career as a young composer during which he received commissions from prestigious ensembles including ECM + (2002, 2005, 2009), Continuum Ensemble (2006), E27 (2008), the Onix Ensemble (2008), the Fibonacci Trio (2013) and the Wapiti Ensemble (2018). He founded the E27 ensemble in Quebec City in the late 90s and the webzine cetvilleetrange.org in 2011. He has won numerous awards including five first prizes in the SOCAN Foundation’s Young Composers Competition, the Robert Flemming Award (2004), the JB-C Watkins Award (2004), the Marcelle Prize (2014) and the Jules Léger Prize in 2004. His music has been presented at music festivals in North America, Europe and Asia such as the Gaudeamus International Music Week (Netherlands, 2003, 2004), Montreal News Music Festival (Canada, 2005, 2009), ISCM World Music Days (Croatia 2005, Slovakia 2013), Mois Multi (Canada, 2008), Cervantino Festival (Mexico, 2009), the Currents Festival (USA, 2013) and ICMC ( United Kingdom, 2011). He has participated in many creative residencies around the world including Mexico (2008, 2014), Scotland (2009), Finland (2017) and Sweden (2009).

During the 2000s his practice gradually changed and fed on the dissemination of creative computing happening on the Internet. Having migrated from musical composition to new platforms of expression, he has presented works in various formats ranging from sound installation to audiovisual performance to large-scale robotic performative installation. His projects have been shown at Elektra (2014, 2016), the MNBAQ (2013), the In-Sonora Festival (2016) and Akousma (2017). He has also worked in dance with choreographer Karine Ledoyen (Danse kpark, 2012, 2016, 2017, 2018). As a programmer, he has worked with many artists including Herman Kolgen (2012, 2016, 2018, 2019), Jean-François Laporte (2019) and Walter Boudreau (2012).

He teaches as a lecturer in digital music at the Faculty of Music of the University of Montreal since 2010. His teaching tasks are divided between visual music, digital lutherie and digital music creation. He also regularly teaches workshops on creative coding in artist centers, notably on the openFrameworks platform. He was vice-president of the Canadian League of Composers in 2014 and member of various artistic committees including the SMCQ (since 2017) and the Akousma Festival (2014-2018). Recently he founded Signum, an artistic structure dedicated to the realization of collaborative projects exploring the links between living arts and digital lutherie. His current research is marked by the use of various technologies (biometrics, computer vision, robotics) as well as transdisciplinary research rooted in music.

Statement (long version)

to come