Susana López aka Susan Drone.
Sound Artist, Experimental Composer and Researcher from Spain.

Overview / Approach

I am a sound artist, experimental composer and researched working at the intersection of field recording, experimental synthesis and perceptual inquiry.

My practice explores vibration, resonance and the hidden layers of sound that shape our relationship with the environment. Using tools such as contact microphones, hydrophones and electromagnetic sensors, I capture signals that are often imperceptible, transforming them into immersive sonic experiences.

I am particularly interested in the threshold between the physical and the intangible: how sound can move from a material phenomenon to a perceptual and cognitive experience. Through processes such as granulation, modulation and spectral transformation, I develop compositions that blur the boundaries between reality and abstraction.

My work often engages with the body as a resonant space, where listening becomes not only an auditory act but a sensorial and interpretative one. I aim to create environments that invite altered states of attention, where sound operates as both matter and meaning.

Alongside my artistic practice, I collaborate with brands, cultural institutions and interdisciplinary teams to develop sound-driven projects, audiovisual pieces and immersive environments. My approach brings together artistic research, technology and conceptual thinking to create distinctive sonic identities and meaningful experiences.

Selected work includes performances, installations and compositions presented in artistic and experimental contexts.

I am open to collaborations, commissions and research-based projects.

Extended statement / Artistic research

Interdisciplinary artist with audiovisual background and a degree in Electroacoustic Composition. My artistic practice spans abstract compositions, audiovisual installations, and immersive concerts, with a focus on exploring the transformative potential of sound and light. By working with these intangible elements, I investigate how they shape space, alter perceptions of time, and create profound sensory experiences.

Since 2009, I have composed experimental, abstract, electronic, ambient, dark ambient, drone, and post-minimalist music. My works combine field recordings, synthesizers, and layers of vocal harmonics, weaving dense, hypnotic soundscapes. My discography includes nine albums, such as Materia Vibrante (2025, Elevator Bath), Stupor Mundi (2023, Vestíbulo), The Edge of the Circle (2022, Elevator Bath), and Crónica de un secuestro (2020, Elevator Bath), which was recognized as a Top Ten Drone International album by A Closer Listen. Other notable works include Huldra (2020, Crystal Mine), Looms (2019), Four Sinusoids to Eliane (2019, Important Drone Records), Megalitomanía (2014), and Vortex (2011).

I have also contributed to international compilations such as Pandemic Response Division (Spectral Electric, 2020, Chicago), From Here to Tranquility, Volume 11 (Silent Records, California), and Artifariti (Encuentros Internacionales de Arte y Derechos Humanos del Sáhara Occidental), among others.

My sound work has been exhibited in prestigious venues, including Audiosfera. Experimentación sonora 1980–2020 at the Museo Nacional Reina Sofía (2020, Madrid) or IN-SONORA Festival (2026, Madrid).

As a live performer, I have participated in festivals and events such as Festival Sónikas (2023, Madrid), New European Bauhaus Party at COAMU (2022, Murcia), Réplika Teatro (2021, Madrid), Festival Morada Sónica (2022, Almería), ENSOLab (2020, Alicante), and Festival LEM (2019, Barcelona), among others.

In addition to performance, I have designed and produced sound art installations, including Transforming Landscapes (2018, Norway), Transforming Landscapes II (2019, Murcia), and Transformando el paisaje III at CAB (2019, Burgos). My collective sound installation Sonorous Architectures was featured at CentroCentro (2013, Madrid).

Since 2001, I have collaborated with musicians as a creator of artwork, videos, visuals, and stage lighting for projects by Schwarz, Artificiero, Farniente, Mist, and Thomas Bey William Bailey.

In 2013, I completed a Master’s in Sonology, where my thesis, The Politics of Noise, explored the intersections of sound experimentation and ideological militancy.

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