Steph Horak is a sound and video artist. As a vocalist/producer she experiments with different systems for voice and composition, whether through the use of self-programmed systems, or combinations of DIY hardware and electronic instruments. These experiments can be found under the moniker SheIsRevolting. Stylistically they edge somewhere between experimental electronica, traditional songwriting, and conceptual pieces. Recent sound projects include threehundredandsixtysix, where Horak sings a note a day for a year. These recordings are available on the Fractal Meat Cuts cassette label here: https://fractalmeat.bandcamp.com/album/threehundredandsixtysix and as a digital download here: https://sheisrevolting.bandcamp.com/releases. She has an upcoming release on Conditional Records of live algorithmic beats with voice+electronics with Renick Bell, and is working on live sound for theatre with Sparkle and Dark.
Through her video installations Horak reframes mundane and common experiences in hypnotic settings, such as in Commutations I and II which are explorations of the urban environment and transportation systems in London comprised of some 70 videos filmed out of bus (Commutations I) and train (Commutations II) windows. The films are presented in triptych on loop with soundtracks in part comprised from the videos native sound.
Her photographic series Manscapes is a reflection of the traces of man in the seemingly barren landscapes of Iceland. She conducts ongoing light experiments for her Still Life series. Her documentation photography of artworks has been published in the New York Times, BBC online, and in various books about robotic and computational artwork.
Horak performs regularly on the London experimental/improvisation scene, details of events can be found here. Alongside her artistic activity Horak works in the field of contemporary electro-acoustic and academic music, project management and exhibition production. She has produced exhibitions for artist Patrick Tresset at Pompidou Centre, (Paris), Merge Festival (with Tate Modern), and Ars Electronica (Linz). She produced the 14th International Conference on New Interfaces for Musical Expression, the Creative Machine Exhibition. As a community arts practitioner she worked with seldom-heard and hard to reach groups across London in therapeutic music, art, and social contexts.
Horak graduated from a BA in Commercial Music from University of Westminster in 2005 under the tutelage of experimental pioneer Steve Beresford. Upon graduation Horak became label and ensemble administrator for Lontano/Lorelt under the direction of Odaline de La Martinez, the first female conductor at the BBC Proms and a prominent feminist composer. She was Junior Product Manager of Warner Classics by the age of 23. She became label administrator and event producer for Gabriel Prokofiev’s label Nonclassical in 2009, where she met the esteemed pianist Genia for whom she was Personal Assistant working on the publication of the Piano Yoga series. She began working with John Richards and the Dirty Electronics Ensemble in 2010, facilitating workshops and performing regularly with the ensemble for several years, as well as collaborating on releases for Mute Records. She undertook a Masters in Computational Arts at Goldsmiths in 2011 under the tutelage of Mick Grierson. Upon graduation she was employed by the Computing Department at Goldsmiths for the research group EAVI (Embodied Audio Visual Interaction) under the direction of Atau Tanaka where she produced music conferences, contemporary/computational art exhibitions, and project managed the design and build of a fabrication lab (HatchLab) facility for the department. During her time at Goldsmiths she co-produced a series of DIY electronics workshops for girls and assisted in the production of conferences for Women On Sound/Women In Sound with Linda O’Keefe and Liz Dobson. She helped establish the Goldsmiths/London branch of Women In Sound with Lisa Busby and Patricia Alessandrini before leaving Goldsmiths in 2016. Horak is a guest lecturer at University of Westminster for the Transcending Musical Boundaries module of the BA in Commercial Music.
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