NOMINATION: Excellence in Experimental Practice
For works, people or events that interrogate, extend, or challenge standard artistic practice within the Australian repertoire
If you believe you are nominated in the wrong category or the details of your nomination to be incorrect, please contact the AMC via email at awards@australianmusiccentre.com.au before proceeding with the nomination.
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Nominee
Helen Svoboda
Nominated Project/Activity
Headwater
Nominator Statement
I am nominating Helen Svoboda for the Award for Excellence in Experimental Practice, focussing on her recent major work Headwater (nominee for Outstanding Sound Work - Green Room Awards).
Headwater premiered at the Abbotsford Convent in Oct 2024 (Melbourne Fringe Festival), and was the culmination of her tenure as a Musica Viva Australia FutureMaker. This program champions the next generation of forward-thinkers & cultural leaders in Australia, through which Helen has proven herself to be a singular voice in the arts community.
Helen is an artist who defies categorisation. As a double bassist, she takes a highly idiosyncratic approach to her work, challenging ones perception of how her instrument traditionally sounds. Within her performance practice, and particularly in Headwater, I am constantly enamoured by the variety of timbres, textures and tones that she creates through the double bass - at times reminiscent of entirely different instrument families like woodwinds and even synthesizers. It is her persistent obsession with extended technique & overtones that allows her to step into these other instrumental roles with such clarity. This sonic world is heightened by her mesmeric vocalisations that meander through nonsensical lyrics, poetic ponderings and nordic colourisations inspired by her Finnish heritage, culminating in an exciting sonic landscape unique to Helen.
Headwater presented a magical multiplicity of Helens solo practice. The incredible ensemble (Jacques Emery as the second double bass, Finnish vocalist Selma Savolainen as the second voice, and Tilman Robinson on electronics), alongside Movement Director Jo Lloyd, created a truly remarkable, beautiful, unusual, comforting, immersive and singular performative organism that transcended genres, times, and worlds. To me, the work spoke to the fracturing and rediscovery of self; a universal experience of humanity through a raw, yet whimsical and deeply emotional sonic journey. At times, I was moved to tears, as I found immense awe and understanding from the work. This is a testament not only to Helens nuanced compositions - from catchy earworms to heartbreaking timbral palettes - but to the technical excellence from the performers. The work also fluidly incorporated inventive use of Transducer speakers and processing to add depth. The notable Stunt Bass in the middle of the floor (presented almost as another body), was brought to life through these transducer speakers, as they were caressed by the performers, vibrating against the wooden surface of the bass.
Headwater is unlike anything I have ever seen before. It is a direct result of Helens many years of committed explorations not only in her solo practice but as a composer, creative leader and explorative musician. I believe this work pushes the boundaries of sonic experimentation, placing Helen at the forefront of experimental sound-making. I cannot wait to see what comes next for her.
Stunning, unclassifiable, strange, and perfect. - Peter Knight
Nominee
Helen Svoboda
Nominated Project/Activity
Headwater
Headwater premiered at the Abbotsford Convent in Oct 2024 (Melbourne Fringe Festival), and was the culmination of her tenure as a Musica Viva Australia FutureMaker. This program champions the next generation of forward-thinkers & cultural leaders in Australia, through which Helen has proven herself to be a singular voice in the arts community.
Helen is an artist who defies categorisation. As a double bassist, she takes a highly idiosyncratic approach to her work, challenging ones perception of how her instrument traditionally sounds. Within her performance practice, and particularly in Headwater, I am constantly enamoured by the variety of timbres, textures and tones that she creates through the double bass - at times reminiscent of entirely different instrument families like woodwinds and even synthesizers. It is her persistent obsession with extended technique & overtones that allows her to step into these other instrumental roles with such clarity. This sonic world is heightened by her mesmeric vocalisations that meander through nonsensical lyrics, poetic ponderings and nordic colourisations inspired by her Finnish heritage, culminating in an exciting sonic landscape unique to Helen.
Headwater presented a magical multiplicity of Helens solo practice. The incredible ensemble (Jacques Emery as the second double bass, Finnish vocalist Selma Savolainen as the second voice, and Tilman Robinson on electronics), alongside Movement Director Jo Lloyd, created a truly remarkable, beautiful, unusual, comforting, immersive and singular performative organism that transcended genres, times, and worlds. To me, the work spoke to the fracturing and rediscovery of self; a universal experience of humanity through a raw, yet whimsical and deeply emotional sonic journey. At times, I was moved to tears, as I found immense awe and understanding from the work. This is a testament not only to Helens nuanced compositions - from catchy earworms to heartbreaking timbral palettes - but to the technical excellence from the performers. The work also fluidly incorporated inventive use of Transducer speakers and processing to add depth. The notable Stunt Bass in the middle of the floor (presented almost as another body), was brought to life through these transducer speakers, as they were caressed by the performers, vibrating against the wooden surface of the bass.
Headwater is unlike anything I have ever seen before. It is a direct result of Helens many years of committed explorations not only in her solo practice but as a composer, creative leader and explorative musician. I believe this work pushes the boundaries of sonic experimentation, placing Helen at the forefront of experimental sound-making. I cannot wait to see what comes next for her.
Stunning, unclassifiable, strange, and perfect. - Peter Knight