is a musician, composer, curator, and artist-researcher, born in Iceland and based in Malmö. She is active in the fields of electroacoustic music, sound art, and creative AI for musical performances. Her music making and practice-led research explores the interplay between humans and more-than-humans, investigating the types of agency and sociality that emerge from these relationships.

Stefánsdóttir’s compositional output has spanned everything from electro-acoustic compositions to sound and media installations. Her work has reached visitors in urban and rural spaces, botanical gardens, concert halls, museums, and through radio waves. Her playing and works are featured on albums released by Øra Fonogram, Sono Luminus, Brilliant Classics, Bad Taste Records, Musmap, Tally, and Carrier Records. These recordings have earned spots on numerous best-of-the-year lists along with accolades such as the Iceland Music Award and Swedish Manifest Prize. Her latest release, Rökkur, created with Nordic Affect and Maja S. K. Ratkje, was nominated for the “Norwegian Grammy” (Spellemann Prisen).

She has been the artistic director of Nordic Affect since its inception in 2005. Her work with the ensemble has earned her Iceland Music Awards, alongside a Nordic Council Music Prize nomination. In addition, she was nominated in 2022 for an Iceland Music Award as soloist of the year. Stefánsdóttir holds a PhD in artistic research from Lund University and received the Oscar II:s Stipendium Prize for her doctoral dissertation. In2024, she conducted a postdoctoral fellowship at the ERC-funded Intelligent Instrument Lab, led by Thor Magnusson at the University of Iceland.

Selected works: H e (a) r, multi-channel audio/installation (2016), I Play Northern Lights, multi-channel audio/installation (2017), AðVörðu/To Cairn, stereo audio/video/installation (2018), I play cement, multi-channel audio/video (2019), Spherical White with Diamond,multi-channel audio/map/installation for a public place (includes Þytur sound installation of nine independent mono channels, 2020; Fjärilarnastegupp, multi-channel audio/installation, 2020; Hölluþula, solo baroque violin/vocal part and electronics – stereo or multi-channel, 2021; MYLLA – music/MYLLA – stage production, multi-channel audio, 2022), a shimmering ornament of silt, multi-channel audio/installation (with Bruton, Rebecca and Halla S. Stefánsdóttir, 2022), Tilljóss/ To light, stereo audio (2023), Echo, stereo audio for performance with an intelligent performance platform (2024), Time Crystals: Crystals of Seeds for baroque violin, baroque viola, baroque cello, harpsichord and electronics (with Kent Olofsson, 2025).