• Fear Drop (FR)

    "Richard Chartier doesn’t pursue a quest, he tries constantly to create a plastic and physic experience of sound work and perception. The apparent complexity that he offers for listening becomes quickly a familiar world. With his sound creation, Richard Chartier helps the listener to detect in herself/himself, some unknown inner components. By helping everyone to utilizehis/her own perception, he opens unexplored intimate territories."
  • Grooves (US)

    "“"I don't want to be 'that quiet guy,'” he says firmly, when asked about his recent forays into more audible sound works. “"I don't want to do the same thing over and over again. I have been getting back into more ambient music these days and actually listening to much more old punk and post-punk stuff. Electronic music has lost its edge to me, or at least I don't hear much that I like anymore. Much of it doesn't stand the test of time for even a few years.” "
  • Art Forum (US)

    "So, while the benches and speakers that populate Chartier and Taylor Deupree's recent installation specification.twelve, 2003, may recall the sculptural work of Judd or Robert Morris, their primary function is to reveal that fact that sound is directional and immersive."
  • Baltimore City Paper (US)

    "Richard Chartier's midtown apartment is a neat freak's midcentury modernist dream. The cozy abode of the Baltimore-based sound artist and graphic designer is almost gallery immaculate, though not ascetic. It doesn't contain much, but what it does looks handpicked and well cared for. The abstract paintings hanging on his walls look placed by someone who cares how and where paintings are hung. Items on tables and countertops look placed just so, compositional elements on horizontal canvases. It's the sort of space Mies van der Rohe would go to kick up his heels."
  • Blow Up (IT)

    "Taylor Deupree and Richard Chartier are perhaps unessentialism's most notable contributors to the developments of the microscopic sound movement, and they are also North America's most prevalent participants in this otherwise European phenomenon. Notable for the advent of late-nineties ultra-minimalism, their releases on 12k and LINE are characterized by high-pitched frequencies, atonalities, and a very subdued assortment of mechanical interruptions and reconfigurations."
  • Radar Magazine (US)

    "The medium of choice for artist Richard Chartier is sound, which he explores with a subtlety and restraint rarely found in the world of "electronic music." "
  • Time Out New York (US)

    "The sound of silence isn't just some Simon and Garfunkel oldie: It's also what some explorers use to create their work. Although it's tough enough to suss out quietude in a noisey city, a good stereo can illuminte the microscopic aural events of sound artist and DJ Ricjard Chartier. But can an ultraminimalist composer make a good DJ? One way is to lead two artistic lives, one seemingly at odds with the other."
  • Washington Post (US)

    "There is no such thing as American art. Maybe there never was."
  • Whitney Biennial (US)

    "Richard Chartier creates extremely spare and subtle compositions that explore the unexpectedly rich threshold between sound and silence."
  • Ambientrance (US)

    "It's been pleasurable and informative to speak with hyperminimal soundartist and LINE co-founder, Richard Chartier; having been immersing myself in his latest, decidely "light" composition (decisive forms), I appreciated the opportunity to question him about his out-of-the-norm stylings. "
  • MUTEK (CA)

    ""minimal", "subtly", "nuance", "repetition" and "dealing with structures" are only a few of the language descriptors that apply to chartier's sound."