Born in 1991 in Cracow, she currently lives in Warsaw. As a composer, she is particularly interested in sound design. She focuses on listening to reality, which she treats as the main source of her sound material. She collects sound garbage and garbage objects that can be useful to generate sound. She writes electronic and electroacoustic music, solo and in collectives. She plays the violin, electronic instruments, and randomly found objects. She is keen to cooperate with artists from other disciplines, coauthoring films, shows, and multimedia installations. 

Her works have been presented at national and international festivals including Warsaw Autumn, Musica Electronica Nova, Sacrum Profanum, Unsound, Festival of Premiers, PLATO in Ostrava, Containerklang, and Bendigo International Festival of Exploratory Music. She writes music for films (Jagoda Szelc’s Tower. A Bright Day, Carlo Sironi’s Sole, Jakub Piątek’s Prime Time, Michał Chmielewski’s Roving Woman), theatre (Marta Górnicka’s Hymn to Love, Best Music award at the 10th Divine Comedy festival in Cracow, Tomasz Węgorzewski’s November, commended by the Artistic Committee of the Live Classic Festival), TV shows (Arkadiusz Biedrzycki’s The Weak, Best Music award at the 2019 Teatroteka Fest), performances (Katarzyna Kozyra’s Chorus from the The Ark of Covenant), and audiovisual installations (Life As We Know It with the ARK Amsterdam collective, awarded with a Golden Calf at the Nederlands Film Festival in 2022). 

She has graduated from the composition class of Krzysztof Baculewski at the Chopin University of Music in Warsaw. She has participated in composition masterclasses notably at the Donaueschinger Musiktage (2016), SYNTHESIS in Radziejowice (2017), and the Summer Courses for New Music in Darmstadt (2018). In 2021 her music for the film Prime Time (dir. Jakub Piątek) was awarded at the 46th Polish Fiction Film Festival in Gdynia. The same year, she also received the prestigious Polityka Passport award. 

Selected works: bilocation for amplified piano, two pianists and sampler (2015), wall for amplified violin, amplified cello and electronics (2015), T.R.I.P. for tape (2015), halocline II for two accordions, bass accordion and sampler (2016), nox for amplified string orchestra (2016), string quartet for prepared and amplified string quartet (2016), multiple 1 for amplified contrabass clarinet, percussion, piano and violin (2017), can you hear colors? for amplified bass flute, amplified double bass and electronics (with Monika Szpyrka, 2017), the most satisfying music for two percussionists and electronics (2017), minimal surfaces 1.0 for amplified violin, amplified cello and chamber ensemble (2017), bol for flute, accordion, percussion, electronics and video (2017), deep–frozen_2/17 for accordion, viola and electronics (2017), untune for tape (2017), minimal surfaces 2.0 for amplified ensemble, electronics and visualisation (2018), Palinopsia for electronics (2018), conveyor belt for bass clarinet, piano, sampler, violin and cello (2018), bulb for contrabass clarinet, percussion, amplified piano, amplified violin, electronics, video, lights and microphones (2019), etude for a door handle mechanism and one spring for tape (2019), cymatics for two soloists, visuals, flute, bassoon, horn, trumpet, trombone and string quartet (with Qba Janicki and Martyna Chojnacka, 2020), il ballo delle ingrate [remake] for amplified baroque ensemble: harpsichord, theorbo, two violins, two violas, cello and electronics (2020), Float for ensemble (2020), Ultimate errors compilation, improvisation for three performers, objects, instruments and live electronics (with Aleksandra Kaca and Żaneta Rydzewska, 2020), bulb 2 for amplified piano, percussion, accordion, violin, viola, audio playback and lights installation (2020), scream for flute, electronics and video (2020), the end [2nd final of Carmen] for amplified chamber orchestra and audio playback (2021), Shift for orchestra and audio playback (2023).