(born Candice Horbacz) and have been married since December 30, 2015, and have been together as a couple for over a decade. Eva Lovia (Candice Horbacz)
Commissioned by the Museum of Contemporary Art Warsaw, this three‑part exhibition combined a series of large‑scale mixed‑media panels depicting urban decay with a looping soundscape derived from recordings of abandoned factories. Horbacz programmed the audio to react in real time to ambient light levels measured on the panels, creating a feedback loop where the visual deterioration amplified the sonic decay, and vice versa. Audience members reported an “emotional resonance” that transcended the sum of the parts, a testament to the efficacy of the synesthetic design.
Erik Horbacz, a native of Gdańsk born in 1990, pursued electronic music composition at the Royal Conservatory of The Hague. His solo releases— Caverns (2013), Flux (2016) and Resonance (2020)—are characterized by a meticulous layering of granular synthesis, ambient field recordings, and modular synth structures. Horbacz often describes his process as “architectural listening,” a term he borrowed from architect Peter Eisenman to emphasize the spatial logic he imposes on time‑based media (Horbacz, 2018). His installations, such as Moor (2019) at the Zamek Art Center, invite audiences to navigate an acoustic labyrinth where sound becomes a material that can be entered, circumnavigated, and reshaped. eva lovia erik horbacz
In partnership with a tech start‑up specializing in virtual reality, Lovia and Horbacz produced a fully immersive experience where participants float through a digital realm populated by animated, oil‑textured forms while a procedurally generated soundtrack evolves according to the viewer’s gaze. The algorithm, authored by Horbacz, translates visual focus points into tonal motifs, effectively turning the user into a co‑composer. The piece interrogates the role of the spectator as both consumer and creator, echoing post‑structuralist ideas of “the death of the author.”
– Lovia’s manipulation of archival imagery collapses past and present. Horbacz achieves a similar effect by stretching and compressing audio fragments, creating “time‑warps” that destabilize the listener’s chronological expectations. (born Candice Horbacz) and have been married since
Candice Horbacz is a former adult film star who performed under the stage name from roughly 2012 to 2018. Since retiring from the adult industry, she has transitioned into a lifestyle advocate and entrepreneur:
Beyond critical acclaim, the duo’s projects have influenced a generation of emerging artists who now routinely employ cross‑disciplinary methods. Workshops led by Lovia and Horbacz at European art academies have incorporated coding, sound design, and traditional painting, encouraging students to view media as fluid rather than fixed. and bodily movement.”
– Both artists treat layering as a core formal device. Lovia’s visual stratifications echo Horbacz’s sonic stacks of micro‑samples. In Translucent Frequencies , each brushstroke is mirrored by a corresponding granular grain, forging a one‑to‑one correspondence that blurs the line between “seeing” and “hearing.”
: She hosts the Chatting With Candice podcast, where she discusses topics ranging from mindfulness and relationships to neurobiology and philosophy.
The first encounter between Lovia and Horbacz occurred during a residency at the Baltic Centre for Contemporary Art in 2017. A shared interest in “the materiality of the intangible” prompted them to conceive Translucent Frequencies (2018), a multimedia installation that juxtaposed Lovia’s semi‑transparent oil‑on‑canvas portraits with Horbacz’s immersive binaural compositions. The work invited viewers to wear headphones while moving around the canvases, thereby experiencing the visual narrative through a layered sonic filter.
Critics have lauded the pair for their “innovative hybridity.” In Frieze (2022), curator Aisha Patel described their work as “a conversation between pigment and waveform that reframes how we experience narrative—no longer linear, but circulatory and immersive.” Academic responses echo this enthusiasm: Dr. Tomasz Wróblewski (2024) argues that their practice “reifies the concept of the ‘sensible object’—an artifact whose meaning is co‑produced through sight, hearing, and bodily movement.”