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EmmaGrace Skove-Epes is movement-based artist, performance maker, educator, organizer, caregiver, and Brooklyn native. She is interested in engaging collaboratively with the environments she performs in, attempting to use movement as a way of listening to the space around her, people around her, and the places where her own embodied history, meets the present moment, as well as imagination, fantasy, and projection.
Some words for some of the many (mostly) wordless things her practice investigates: multi-sensory listening and witnessing, alternate modes of taking up space, queerness, grief, following pleasure as a creative directive, and seeking ways to credit influences amidst unknown and fractured lineages.
EmmaGrace can hold her breath underwater for a long time.
At Sable, EmmaGrace slowed down, improvised with and through the plants in the garden, learned pieces of information about these plants through conversations with the resident artists, wrote a lot, and filled the studio with leaves, jars, stones, shoes, and tiny glass bottles encasing plants. She shared excerpts of a work-in-process incorporating movement and non-linear writing exploring intersections of toxic white conditioning, queer femme-ishness, and addiction.
EmmaGrace Skove-Epes is movement-based artist, performance maker, educator, organizer, caregiver, and Brooklyn native. She is interested in engaging collaboratively with the environments she performs in, attempting to use movement as a way of listening to the space around her, people around her, and the places where her own embodied history, meets the present moment, as well as imagination, fantasy, and projection.
Some words for some of the many (mostly) wordless things her practice investigates: multi-sensory listening and witnessing, alternate modes of taking up space, queerness, grief, following pleasure as a creative directive, and seeking ways to credit influences amidst unknown and fractured lineages.
EmmaGrace can hold her breath underwater for a long time.
At Sable, EmmaGrace slowed down, improvised with and through the plants in the garden, learned pieces of information about these plants through conversations with the resident artists, wrote a lot, and filled the studio with leaves, jars, stones, shoes, and tiny glass bottles encasing plants. She shared excerpts of a work-in-process incorporating movement and non-linear writing exploring intersections of toxic white conditioning, queer femme-ishness, and addiction.