Polish composer, sound artist and sound engineer. She graduated from Poznań’s Adam Mickiewicz University and Paderewski Academy of Music as well as Stockholm’s Royal College of Music. Słyż is a participant of the international project We Are Europe and the SHAPE+ platform for European innovative music and audiovisual media artists. 

Throughout her live performances, Słyż has been exploring subtle connections between acoustic instruments and modular synthesisers, creating rich and diverse drone structures which slowly but intensely highlight the power of pulse and resonances with both the surrounding space and the audience. Interactive sonification systems are another large part of her artistic practice. In 2017–22 Słyż conducted artistic research that involved practical experiments on movement and gesture sonification, human proprioceptive reflexes, and different types of interaction. 

Her works have been presented at the most important European music festivals and in various major venues including Avant Art Festival (Wrocław), CTM Festival (Berlin), Fylkingen (Stockholm), Meet Factory (Prague), NODE Festival (Modena), ORF musikprotokoll (Graz), Open Source Art Festival (Sopot), Rewire Festival (The Hague), Festival of Premieres – Polish Modern Music (Katowice), Warsaw Autumn, and Unsound (Cracow). 

Selected works: Glosses for double bass and electronics (2016), Let me express for ensemble and electronics (2017), Wave for 15 instruments (2017), What’s that noise I hear when I shut my eyes really tightly?, immersive performance (with Anna Kamińska, Patryk Durski and Przemysław Degórski, 2017), SYNESTE7JA.1 / SYNESTHESIA, multimedia spectacle for two dancers, ensemble and live electronics (2018), Obcy w lesie (Stranger in the Wood), children’s radio drama (2018), UNDER/WATER for performer(s), live electronics and visual processing (2019), Sketches of Carnality, audiovisual installation (with Adrianna Jaworska, 2019), Flights for flute and live electronics (2019), Micro Error Code, immersive performance (2019), Human Glory for orchestra and live electronics (2020), Iridescence, acousmatic music (2020), Human Glory for vinyl and cassette (2020), Iridescence II for violin, viola, cello and live electronics (2020), Proximity and distance, acousmatic music (2021), Hypercycle, multichannel interactive sound installation (2021), A Vibrant Touch for vinyl (2022), Everything tends towards chaos and order, ambisonic electroacoustic music (2022), At different times for orchestra, modular synthesizers and electronics (2022–23). 

Film music: Somnambulism, dir. Agnieszka Gawrońska (2017), ἴσος / ísos, dir. Haruchika Seno (2018), I saw it, dir. Jakub Oleg Wojciechowski (2018), Alithia (Truth), dir. Michail Galanopoulos (2019/2020), Re-quest, dir. Veronika Klyushnik (2020), Liminal Space (with Mark Posio, 2020), Re-quest, sound design for a film by Veronika Klyushnik (2020), Dygot (Quiver), dir. Joanna Różniak (2022).