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Out of an Abundance of Caution: Volume 27!
OUT OF AN ABUNDANCE OF CAUTION is an avant-garde microfestival LIVE + online of quick + dirty-fascinating work responding to and from the places and people with whom we select to shelter, on a wildly inclusive + non hierarchical platform
WE HAVE MADE IT FOR HALF A YEAR. WHAT.
Produced by Lauren Miller, Jessica Almasy, Theresa Buchheister
Tech by Lauren Miller
Poster Image by Maya Sharpe
-Lydia Mokdessi and Jason Bartell
-Emilyn Kowaleski and Diane Chen
with our host Maya Sharpe!
get into it early, stay w us for the long haul
entry is free
tipping is encouraged (paypal.me/outofcaution)
flying by the seat of our pants here so
anything can happen
Sunday, September 20
8pm EST Show
Lydia Mokdessi and Jason Bartell present DEVOTION DEVOTION
Emilyn Kowaleski and Diane Chen in collaboration with Uptown Works present Our Heroine
Emilyn Kowaleski is a New York based writer and director fighting for collective liberation through explosive historical inquiries into body politics and power dynamics. EK is currently working on a creative non-fiction book on the historical roots of gender-segregated bathrooms, and a new collection of poetry gathered from her daily writing practice entitled, A Pocket Full of Love Notes: A Journey towards Self-Liberation Through Daily Intentions. Recent credits include: Writing/Directing ~ This Play was NOT written by a Woman (Little Theater, HB studio), OUR HEROINE (Nasty Women Unite Fest, ?! New Works) WEATHER (University Settlement), EVERSION (Ars Nova). Directing ~ Productions: ANIMAL WISDOM by Heather Christian, co-directed w/Mark Rosenblatt (The Bushwick Starr – Upcoming at Woolly Mammoth and ACT in 2021); Everyday Afroplay by Daaimah Mubashshir (JACK); Delicious Filth by Brett Evan Solomon (The Brick); The Witch of St. Elmora Street by Joey Merlo (Access Theater). Readings – Smail by Tariq Hamimi (Theater Row); Heart and Soul Yoga Studio Beirut by Olivia Clement (Corkscrew Theater Festival); Things we Meet and Know Briefly by Katie Hathaway (Clubbed Thumb). Emilyn has held positions at The Martin E. Segal Center, The Public, The League of Independent Theater, Young Jean Lee’s Theater Company and Town Stages. They carry an MA in Women’s and Gender History from Sarah Lawrence where they were the 2019 recipient of the Gerda Lerner Award, and a BFA in Experimental Theater and Psychology from NYU. www.EmilynKowaleski.com
UptownWorks is a full service media production company that loves telling stories! We specialize in film and sound production and strive to support new works by voices that need to be heard. Whether it’s a film, theater production, new product, or music video, we have a blast creating and collaborating with our artists to provide clients with a one-stop-shop to tell their unique story.
Much of my work is driven by material and what it means to destroy and create. I explore the possibilities of re-forming narrative and memory by allowing it or forcing it to breathe into the present. I am fascinated by layers, palimpsests, and the peeling back of the layers to reveal hidden truths.
I am interested in entropy, disintegration and destruction as a site for growth and change. Many times the work has different iterations: i.e. textiles, performance around the textiles and then a different work that is created as an object documentation of the process. My work is driven by the ghosting or the invisible past shining through to the present without words: creating historical context while simultaneously existing in the present.
I question philosophical notions of memory, narrative, history, home, safety, time, movement, and place. I hope that viewing the work provides a site for a face-to-face encounter with the work itself separated from my original intention. The process involves research and investigation into problematic aspects of different philosophies. I like to understand why and how some questions themselves are worthy of questioning. I grapple with the existence of the shadow of the work or the third, invisible other in this one-on-one encounter. And yet while doing this academic exploration, I find that the work lives in a spiritual place as well, one where my own ancestors exist and provide a structure and a frame within which I can create.
Paper without text communicates histories unutterable and the possibilities for different translations is endless. The way messages can be received mimics my understanding of the brains of humans. No one person sees or experiences the same thing ever. We all have our own understanding of what we view, and a “blank” sheet of paper is never actually blank. Embedded in the paper itself is a history of reproduction and varying degrees of industry.
I am a native and life-long New Yorker. My long term background is in acting in NYC experimental downtown theater and new play development. In 2017, I got my Masters Degree from City College in Digital and Interdisciplinary Arts Practice. I found myself gravitating towards paper making when I was on a residency in Mexico and I kept encountering layers of paint peeling from buildings revealing unspoken histories, non-narrative stories. It seemed like this plaster and handmade paper had something in common, and that they contain a host of hidden meanings. Paper without text communicates histories unutterable and the possibilities for different translations is endless. The way messages can be received mimics my understanding of the brains of humans. No one person sees or experiences the same thing ever. We all have our own understanding of what we view, and a “blank” sheet of paper felt like such a strong illustration of this concept. There is no right way to look at a piece of paper, but it is a medium that is both simple and complex, which makes it rife for exploration. It was a refreshing contrast to the digital work that I was learning in graduate school. Book making takes this one step further, both housing the paper and ideas in a container, and becoming its own container for itself as an object.