Composer and sound artist. His creative work covers a wide range of activities, from electroacoustic and experimental music to composing music for film, theatre, and TV. Thanks to his virtuosity, innovative approach to sound, and ability to combine different genres and media, he has gained recognition both in Poland and internationally.

His work is based on a deep exploration of sound as a physical and phenomenological phenomenon. His music, often using microtonal octave divisions and alternative tunings, continuously challenges traditional categories of consonance and dissonance. He regularly uses advanced modular synthesizers, which are the central tool of his work. In albums such as Lincoln Sea, Afterlife, and When Snakeboy is Dying,he combines synthetic instruments with acoustic sounds to create complex structures that are both fascinating and emotionally moving.

His album Lasting Clinamen is a work that explores the depths of sound through irregular pulsations and rising and fading drones. This is minimalist yet extremely intense music, offering an experience of deep contemplation. Euzebio, on the other hand, features a wide sound spectrum, combining elements of experimental music, dreamlike minimalism, and ethnic influences.

Although his main area of activity is electroacoustic music, Piotrowicz regularly incorporates acoustic instruments into his projects, cooperating with performing ensembles such as Phoenix Ensemble and Apartment House. His compositions, such as Ungrund and Mewo Pan, combine the organic nature of instrumental performance with precisely designed electronic landscapes. An important aspect of Piotrowicz’s work is his activity in the field of film and TV music. Not only did he compose the music for the film Walser (dir. Zbigniew Libera, 2015), but he also played a key role as sound director and designer of unique instruments used in the production. His soundtrack is based on a combination of nature-inspired sounds and advanced electronics. The music in this film serves a narrative function, bridging the gap between the tribal world depicted and contemporary sound sensibilities. In the television programme Przewodnik po sztuce (TVP Kultura, 2012–15), Piotrowicz created a soundscape that harmonised with Zbigniew Libera’s narrative, enriching the educational aspect of the programme with a reflective and emotional element. Another example is the experimental film Rerun (dir. Igor Krenz, 2012), in which Piotrowicz’s sounds transformed abstract images into surreal journeys.

Piotrowicz has also made a significant contribution to theatre music. In Opera for the Deaf (Teatr Studio, 2018), he combined instrumental sounds with electronics; his collaboration with theatres also includes projects such as Herbert: Rekonstrukcja Poety (Reconstruction of the Poet, 2008) and Śmierć Człowieka-Wiewiórki (The Death of the Squirrel Man), both directed by Marcin Liber. In these productions, Piotrowicz used sound as a narrative tool, giving the performances intensity and emotional depth.

Piotrowicz has performed at prestigious festivals around the world, including in Japan, Australia and almost 40 European countries. He is the co-founder of the Musica Genera festival and record label, which has played a key role in promoting Polish experimental music. As acurator and event organiser, Piotrowicz has created a space for dialogue between artists and audiences, introducing an innovative approach to the promotion and presentation of contemporary music.