KATE HOWE: PORTFOLIO

Bio

Kate Howe (they/them) b.1971, is an American artist and writer working in London and Leeds, and is currently a doctoral researcher at University of Leeds. Their Ph.D. project is entitled "Collecting Rape: Identification, Collation, Curation and 2 of 4Response to every item in the National Gallery and Archives that takes Rape as its subject.” Howe holds an MA (distinction) from Kingston University ('24) in Creative Writing, an MA from the Royal College of Art (‘22) in painting, and a BA (summa cum laude) from Arizona State Univeristy (‘20). As Howe ecountered Titian’s "The Rape of Eruopa," they saw abduction figured as passion and adoration. This formed their desire to interrogate a major collection and ask, “Just how much rape are we collecting?” Passionate about the origins of the socialization of gendered violence, Howe responds using modern images of rape found in evidentiary collections, victim impact statements, and our contemporary cinematic entertainment. Linen surfaces are sutured before being stretched, sized with rabbit skin glue, and chalked out, utilizing the same process as the Old Masters, until the image begins to fracture, freeing the victim from the prison of the image of her most impactful, and possibly final, moment.

Statement

How can a painting stand still in a moment when all frequencies feel truth as ungraspable? How to look to history, how to create space for knowledge, growth and understanding in the Babel of the global Idiocracy? It is so loud in here. One must tune into every frequency at once as fragmented moments try to resolve into something tangible, only to fall into impotent action again.

There is a point where the work begins to take on this feeling of conditional reality. As though the many realities that are happening as we move through the world are happening all at once, all trying to resolve themselves, but never can.

Rather than ‘the fragment’ it’s more like all the fragments, who once were joined, all trying to reach for each other whilst being pulled apart. The restless, unresolving, relentless movement evokes this conditional reality – akin to trauma memory, or life with ADHD, all possibilities existing at once, none resolving.

‘The First Twenty-Four Hours (Part One)’

Kate Howe, 2024, oil on linen. 160cm x 120cm.

This work is a direct response to Howe’s current research proposal.

'The First Twenty-Four Hours (Part One)’ , Kate Howe, 2024, Detail View.

‘The First Twenty-Four Hours (Part One)’, Kate Howe, 2024, oil on linen. 160cm x 120cm. Installation View.

‘The First Twenty-Four Hours (Part Two)’

Kate Howe, 2024, oil on linen. 160cm x 120cm.

This work is a direct response to writing Howe’s current research proposal.

'The First Twenty-Four Hours (Part Two)’ , Kate Howe, 2024, Detail View.

‘The First Twenty-Four Hours (Part Two)’, Kate Howe, 2024, oil on linen. 160cm x 120cm. Installation View.

‘Instructions to the Other from the Mother’

Kate Howe, 2023, Site-specific Installation at RuptureXIBIT for ‘Lawless Imagination’, waxed kraft paper, lights, wire, bin bags.

Instructions to the Other from the Mother’, Kate Howe Site-specific installation as part of  ‘Lawless Imagination’ at RuptureXIBIT, December 2023. Installation shot.

Instructions to the Other from the Mother’, Kate Howe, Site-specific installation as part of  ‘Lawless Imagination’ at RuptureXIBIT, December 2023. Installation shot.

‘Fidelity Loss Inevitable’

Kate Howe, 2023, Site-specific Butoh-ka performance inside Howe’s installation ‘Instructions to the Other…’ to Nick Parking’s Island of Dust during group show ‘Lawless Imagination’ at RuptureXIBIT on 9th December 2023.

Fidelity loss Inevitable’. Kate Howe performs Butoh-ka inside their installation ‘Instructions to the Other…’ to Nick Parking’s Island of Dust during the group show ‘Lawless Imagination’ at RuptureXIBIT on 9th December 2023.

‘The Infinite Intimate’, Kate Howe, 2023, Detail view.

‘The Infinite Intimate’

Kate Howe, 2023, Site-Specific Installation for ‘Light Being’ at Lychee Gallery. Kraft paper and stitching. 6.8 m x 3.7 m. Hands: Olivia England, Tom Wight.

‘The Infinite Intimate’, Kate Howe, 2023. Installation shot.

‘The Templum’

Kate Howe, 2023, kraft paper, stitching, gold leaf, dust from the cave of the Oracle at Delphi, 15 minute immersive sound piece, 15 minutes of silence. Site for silent hours, readings, performances, dis- cussions, talks and transformations. Variable dimensions, site-specific installation for the Wild Parlour: Alternative Airport at RuptureXIBIT, London. Hands: Olivia England, Sally Minns, Sadie Wight, Tom Wight, Sylvia Flateau, Flo McCarthy, Leon Watts.

‘The Templum’ is a site-specific installation as part of the Wild Parlour Philosophy Collectives group show Alternative Airport at RuptureXIBIT, May 2023. The show featured the work of recent graduates and current students of the Royal College of Art. The Wild Parlour Philosophy Collective is led by painter and writer Jonathan Miles (PhD advisor at RCA). ‘The Templum’ functioned as a site for performance, spoken word and sound work throughout the show. Templum PDF Catalogue linked here.

The Templum’, Kate Howe and Jessica Mardon, Site-specific installation as part of  ‘Alternative Airport’ at RuptureXIBIT, May 2023. Installation shot.

The Templum’, Kate Howe and Jessica Mardon, Site-specific installation as part of  ‘Alternative Airport’ at RuptureXIBIT, May 2023. Installation shot.

CONTACTSocial Performance inside the ‘Templum’, at RuptureXIBIT, 6th May 2023.

‘Susanna's howling liver, delivered unto the Organ of Healing’

Kate Howe, 2023, waxed kraft paper, stitching, lights, Divine and Memory Totemics, rocks bones and stones from the river Thames, hand hammered brass bowl, tealights, cushions. Site-specific installation: the Crypt Gallery, St. Pancras. Variable dimensions. Hands: Sylvia Flatau, Sadie Wight, Ellen Wight, Tom Wight, Sharon Owenga, Olivia England, Ben Coleman, Guy Shoham.

This site-specific installation was made as part of group show ‘Subterranean Organ’, curated by Daisy Wang and Celeste Viv Ly, at the Crypt Gallery, Euston, April 2023. The exhibition inquires into the interiority and exteriority of the more-than-human body, in relation to fluidity, contingency, and the architectural and performative spaces within and without. PDF Catalogue linked here.

‘Susanna's howling liver, delivered unto the Organ of Healing’, Kate Howe, 2023. Installation shot.

‘Transmission’

Site-specific performance in Susanna’s howling liver, delivered unto the Organ of Healing’, 2023, kraft paper, stitching, lights, Divine and Memory Totemics, site-specific installation. Variable dimensions. Kate Howe, 2023. Hands: Sylvia Flatau, Sadie Wight, Ellen Wight, Tom Wight, Sharon Owenga, Olivia England, Ben Coleman, Guy Shoham. Performers:Janet McCunn, Lizzie Cardozo, Garance Paule Querleu, Alexa Chow, Olivia England , Doireann Gillan.

‘Supernova is Sad’

Kate Howe read ‘Supernova is Sad’ in their site-specific installation ‘Susanna’s howling liver…’ at the Crypt Gallery, April 2023. A closing reading performance of recent writings, these pieces are intimate personal reflections, the writing of which is often a necessary part of Howe’s practice.

‘Transmission’ performance and fly-through of ‘Susanna’s Howling Liver…’, Kate Howe, 2023.

‘Final Feeding’ (Performance)

Spontaneous performance inside a WIP installation at RuptureXIBIT. 9 June, 2023. Duration: 75 minutes. Seated meditation whilst receiving an IV for pancreatitis, nude in a nest of Kraft paper, attached to a creature via surgical tubing. Nurse: Sharon Owenga (Photo: Sharon Owenga, street view through the High street shop-front window).

‘Final Feeding’, Kate Howe, 2023. Installation view,

‘Final Feeding’ (Performance), Spontaneous performance inside a WIP installation at RuptureXIBIT. 9 June, 2023. Duration: 75 minutes. Seated meditation whilst receiving an IV for pancreatitis, nude in a nest of Kraft paper, attached to a creature via surgical tubing. Nurse: Sharon Owenga (Photo: Sharon Owenga, street view through the High street shop-front window). 3 Minute Version.

I felt it brush…, Kate Howe, Installation Shot.

‘I felt it brush my forearms as it fell, keeps falling, over and over. The sun, I notice, is very blue, coming through the leaves.’ (After Gentileschi with Memory totemic)

Kate Howe, 2022, installation, oil paint and stitching on Kraft paper in black surround with lights and Memory totemic, variable dimensions.

I felt it brush…’, Kate Howe, Detail Shot.