Judith Hamann is a cellist from Melbourne, Australia. Her performance practice stretches across various genres encompassing elements of improvised, art, experimental, and popular music. Currently her work is focused on expressions of immersion and saturation: explored through durational, spatialised and electroacoustic approaches to sound, as well as an examination of psycho-physical materials and manifestation of ‘shaking’.
Judith has studied contemporary repertoire with cellists including Charles Curtis and Séverine Ballon, as well as developing a strong practice in improvisation and sonic arts through collaborative projects both in Australia and internationally. She has worked with artists and ensembles including Oren Ambarchi, ELISION ensemble, Dennis Cooper, Maya Dunietz, Lori Jürg Frey, Graham Lambkin, Alvin Lucier, Toshimaru Nakamura, The Necks, Àine O’Dwyer, Michael Pisaro, Ilan Volkov, Tashi Wada, and La Monte Young. Judith is a member of Golden Fur, Hammers Lake, SYSTEM (with Anthea Caddy), The Argonaut String Quartet, and a duo project with Rosalind Hall.
She is a champion of new and rarely performed music, immersive approaches to sound, and engages with a range of interdisciplinary and experimental projects.
Judith Hamann’s recent explorations of solo cello have focused on an examination of shaking, treating movement as material in order to uncover and guide performer and instrument as an assemblage, where each instructs the other.
This process also extended to considering shaking as pulse, in the sphygmological sense: a reading of the pulse of the cello in order to inform how material unfolds and is generated. These ideas will over the course of this residency be turned outwards from the dyad of cello and performer, in order to engage with a sense of place, with non-human sources of cycle, pulse and rhythm.
These senses of rhythm seek to uncover on a micro and macro musical scale the space of what Henri Lefebvre described as the ‘tender interval,’ the location between measurement. This residency project will also examine these ideas outside of the cello, collaborating with local Sunshine Coast artist Karla Pringle on a new taxonomical project that explores ideas of extended proprioception.
This project seeks to place experimental sound practice within a porous environment, one which allows for conceptual and practical engagements with sound’s natural permeability, its dissolving of boundaries between one’s own body and space, the body and sound, a body and other bodies. This resonates not only with the ideals of the Cooroora institute’s conception of permeability between human and non-human, but also with an ongoing body of work and research undertaken by Judith.
The opportunity to work at the Cooroora institute provides a vital opportunity for the artist to place these ideas within a space which allows for dialogue with a specific sense of place, in order to generate new work for cello which will then be presented nationally and internationally in Judith’s performance practice. It also plants the seeds for a larger collaborative project with local artists, which will be shown at the conclusion of the residency.
The residency period will conclude with a performance and showing of work at the Cooroora Institute on 18th August 2018.
For more information about Judith’s work