French Minimalist composer, Patrick Dorobisz was born from Lithuanian Parents in the north of France . His interests in music, drawing and painting developed at an early age : Conservatory of music and Art school.
Dorobisz studied architecture at the Academy of Fine Arts, where he began producing his first repetitive electro-acoustic music compositions and sound installations. During the 70s, he experimented with analog devices of the time, combining early synthesizers and tape recorders.
He was also guitar player (1971-1973) in the progressive rock band
Johns-Omintone.
Come the 80s, reprocessed this dischord with computer technology, and by the 90s, pursued digital reconstruction of acoustic models, further exploring dynamic harmonics. Dorobisz is presently working with these diverse music systems by targeting the familiar-- classical instruments supported by a live, traditional quartet. chamber orchestra, Live electronic. All various aural locales, is, as Dorobisz says, "a chance for us to discover imaginary sound spaces which are different every time... Universes within musical architecture derives, above all, from pictorial research."

After obtaining a diploma in architecture Dorobisz, received a National Diploma in Fine Arts, in 1976, he began transferring themes inspired from art and architecture into music. His first definitive piece, john's Collage 1973,' is the result of assembling collages of magnetic tapes for the progressive rock group, john's. This music experiment employed deliberate and simultaneous play of several unsynchronized tape loops, achieving microtonal dischord. That same year, Dorobisz wrote “Gretsch Pattern," a piece for electric guitar, followed by the Electro series.

Dorobisz' earlier works were composed in France and Germany between 1974 and 1980. Then, in 1984, upon invitation by composer Lucien Goethals, Director of Ghent's IPEM (Institute for Psychoacoustics and Electronic Music), Dorobisz at 29, relocated to Belgium where he scored, " Kontrapunkt", " le Gai savoir ", " L'orpheon de Jade ","Souprematika," winning the International Electro-acoustic Award at the Bourges Festival (1986). He continued research at the Institute's studio until 1987.

After leaving IPEM, Dorobisz created additional pieces: "Alice de l'autre cote du miroir," performed live at the Lille Opera House, " Luminis ", "Narvik" for orchestra, "Le serpent d'or" cello counterpoint, "String Quartet N°2", "Treblinka" for orchestra, and "Autres directions," a recorded entry for the Seoul Computer Music Festival in 1997. "Geometria " at : The Sound of Israel in Berlin, 1997 ; "3+11", at the International Music Conference in Ann Arbor, Michigan, USA ; in Santa Fe, New Mexico, USA....etc. The latter was performed once more between 2003-2006 at The Auditorium, in Lille, France with the Computer Music Ensemble.

The essence of Dorobisz' work fosters a synesthetic experience to which music transcends sound, repetitive music, computer music, and art transcends images. The interplay between imaginary landscapes and sound spaces gives ears and eyes another vision of contemporary music, form the talents of a painter who is both an architect and artist-composer.
When asked by an American music critic what it was like to create both visual art and also music, he responded: "What's the difference? I'm either painting on time or painting on a canvas."
His work is multiple, protean, plastic and conceptual. From Dorobisz' first electronic experiments to his string quartets, his music never leaves the listener indifferent. Patrick Dorobisz lives in Belgium in the province of West Flanders, where he continues his musical research around piano and computer with his partner, pianist Veronique Vanhoucke.