She took her first piano lessons at the age of 5 with Aimee Thonon and was discovered with an exceptional talent.
3 years later she won her first contest.
Others followed, including Bach piano competition, Cantabile, Prix E.Durlet, Young RTBF soloists and the East Flanders Prize.
At the same time she was admitted to the choir of the Thonon Institute, which gave concerts all over Europe. Veronika will become the solo singer of Tonada until she is 18 years old.
In 1996, Veronika was admitted to the Royal Conservatory of Ghent.
In 1997 she took a masterclass with Swiss pianist Pierre Sublet on P.Boulez, J.Cage, M.Feldman and G.Crumb
In 1999 she met composer Lucien Goethals, director of the Ghent Institute of Psychoacoustics and Electronic Music, and took electro-acoustic lessons with composer Patrick Dorobisz (her future husband).
In 2002, she obtained her master's degree in piano, her aggregation and her certificate of aptitude for new technologies.
She draw attention to herself by playing the works of John Cage.
She had the privilege of studying piano with Claude Coppens and chamber music with Marcel Lequeux, Analysis class with Filip Rathé and Geert D'hondt (Spectra Ensemble).
It was at this moment that she developed her passion for contemporary music.
“Contemporary music imposed itself naturally on me, since I had been familiar since my childhood with contemporary art and the theories of its artists.
When I took my piano lessons with Aimée Thonon, I had to go through her husband's painting studio, which was Anton Diez, a painter.
He explained to me what he was doing when I was 7 or 8 years old ...
I was also lucky to have a father who was an art collector and I was often in contact with artists. My father explained me the works he bought.
I never went on a holiday to the sea with my parents, since I lived there already, so we went to concerts in Vienna, New York (Carnegie Hall, Met ..) ... and of course we visited art galleries in many countries and museums all over the world ". (Berlin, Bangkok, New York, Shanghai, Paris ... etc.)
I spent whole days at the library of Juilliard to discover and buy scores that were not found in Europe.
Contemporary music has therefore imposed itself on me because of my passion for art.
And if I live now with a composer who is also an artist, with such a singular artistic approach, it's not for nothing!
Since the age of 8, Veronika has given numerous concerts as a soloist and also with orchestras or choirs in Belgium, Italy, Russia, Hungary, Bulgaria, Germany and France.
"At the age of 10, it's very impressive to get off the plane in the USSR, to be escorted by the Soviet militia, drive through thered lights to play
on Moscow TV"nullMauricio Kagel.
For several years, Veronika had the privilege being a member of the jury of the "Jonge solisten aan zee" competition, which was created at the initiative of her father in his own theater.
"That's why I had the idea to play “XXL measure” in a theatrical staging, with a gothic costume. Patrick has thought about the rest, the concept: the urgency of slowing down the world of new technologies and the entertainment society ... .We have been working on the theatricalization of the world. "
Veronika is particularized by her investment in the music of our time and by an instrumental play that combines pianistic technique and musical poetry.
"It is often said that the music of the Eastern countries is characterized by the Slavic soul, as for literature also.
As I have Polish origins, it is probably for this reason that I try to reveal the sensitive universe of music.
I try to give it another dimension, a little of that Slavic soul that is in me.
I do not want to play like a computer ... The text remains certainly a priority, but a composer can’t write everything in his score about interpretation,
and I know that for a fact! "
To work constantly with my husband, who has a crazy demand for respect for the text with its complicated rhythms, he sometimes has doubts about the interpretation ... And it's up to me to make proposals.
These exchanges between the composer and the performer also
make me evolve.
Being at the heart of Patrick's artistic approach, Veronika works on the transversality of the arts and seeks with him, new ways for the piano using new technologies.
Passionate about contemporary art, she actively participates with her husband in happenings, performances, photos as a model and contributes to the scenarios of his video art.
"At the Royal Conservatory of Ghent, I chose the option: New technologies. I was the only one ...
I told myself that I would go further in my piano studies if I mastered all the technologies that could extend the sound spectrum of the piano and the instrumental playing.
During 3 years, I studied the midi, the real time, the different types of synthesis and all the aspects of a recording studio ".
As a creative accomplice in their relationship, Veronika is specialized in the execution of his works and they are dedicated to her.
As she likes to say:
"our very strong personal relationship, the feeling I experience, has allowed me to surpass myself and discover new fields of interpretation".
To touch the musical creation through a composer like Patrick, to see the work grow day by day, to attend his birth, to share Patrick’s doubts in the early morning, or to be the first one informed of his new projects, is an incredible chance for an interpreter.
It also allowed me to rethink the approach that I had until then, by deciphering new scores and to be even more at the service of the work to let it rhyme exactly, interpreting and creating it while adding my sensitivity " .
With the charm that characterizes her and her sexy look, which she claims as a part of her eternal rebel side, Veronika invites us to discover each time a new musical journey, filled with dreams, emotions, colors, creativity, guided by a great pianistic mastery and a sensual play that bring to the works a specific intensity.
"I do not disappear behind the music being dressed in black like all classical musicians, I am at the service of music and to be at the service of music I must feel good in my outfits because when I play, I feel the music in my body. I come into vibration with her.
The music is not only at the tips of my fingers, it must above all talk to me and resonate, vibrate in me.
I have both a very sexual and very romantic approach.
It's contradictory, though ... but I have this excess in me.
I’m Germanic and Slavic.
As Nietszche would say in the genealogy of morality,