Madelyn Byrd (they/them b.1992) is a creativity & neuroaesthetics researcher, interdisciplinary artist, musician, and DJ based in London and Berlin.

Drawing from post-modern aesthetics, cyberfeminism, and queer ecology, Byrd’s body of work is a playful exploration of surreal world-building and human-to-non-human creative empowerment as a way of reframing the (im)possible. Their work positions multifarious connections between all things as utopian playgrounds and capitalist critique. Here, fantastical interplays shift scale, modulate time, and contort bodies to reveal rhizomatic patterns of similitude. Their use of mixed media - sound, collage, film, poetry, and curation - illuminate entanglements of earth, self, and otherness in maximalist, process-driven acts of techno/self-destruction. Once destroyed, slow, subversive experiments recollect dreams of utopian prefiguration and inextricable collective connection.

Their musical moniker, Slowfoam, is their catch-all music moniker. Playfully and tenderly, they build swirling worlds by weaving an eclectic patchwork of contorted ecological soundscapes, sparkling ambiance, fuzzy poetics, and obfuscated beats, and textural percussion. They have released music with Jungle Gym Records (Los Angeles), Theory Therapy (Melbourne), Lillerne Tapes (Chicago), and Knekelhuis (Amsterdam), amongst others. Additionally, they have a forthcoming release on Mappa (Lucenec, Slovakia). Slowfoam is a resident at Internet Public Radio where they curate an all-genre monthly radio that explores utopia and collective transformation through sound.

Madelyn is a founding member of MOLD Collective, an anti-capitalist collective that supports creative process, critiques of care, and ecological attunement. “We seek to address the intuition that something is greatly amiss in our reality, while, at the same time, we cultivate a sense of wonder at our planet, our communities, and the complex relationships between ancient and future knowledges. In each of us is a dynamic range between practical reasoning and amorphous dreamworlds. We've realized that in harnessing this range together, we find the tools we need to process this very messy paradigm we share as contemporary arts practitioners.”