Kate Downie | Conversations with Joan

Born in North Carolina, Kate Downie studied at Grays School of Art in Aberdeen before travel and residencies took her to the United States, England, Amsterdam and Paris. Over the past two decades Downie has established herself as one of Scotland’s most prominent artists. Her skill not restricted to painting alone, she works across a diverse range of artistic medium. One recent project for Pittenweem Arts Festival saw Kate juxtapose large colour-field prints with architectural charcoal drawings with extraordinary results. The majority of her work is defined by geography, and the artist’s response to the landscape or subject in front of her. Kate’s constant search for new challenges and inspirations has seen her set up studios in such diverse places as a brewery, an oil rig, and for her most recent show an abandoned Hydroponicum. Her work is held in many public collections including Glasgow Gallery of Modern Art; Kelvingrove, Art Gallery: Reitveld Kunst Academie, Amsterdam; the BBC and Edinburgh Council. Downie has enjoyed ten solo exhibitions at The Scottish Gallery. She is currently exhibiting at the Glasgow Women’s Library with Conversations with Joan. An exhibition based around Downie’s creative journey to complete a version of Joan Eardley’s painting Two Children left unfinished on her Townhead Studio easel at the time of her death in 1963.

‘One of my creative concerns is to define these spaces between buildings rather than the buildings themselves. The object lesson for me is the witnessing and the drawing of these nonplaces which are also, by definition, public arenas of cumulative activity. My job as an artist is to accommodate these actions in our contemporary lives, and to find the poetry within.’
– Kate Downie

Please click here to view prints by the artist

There is an enduring fascination for Joan Eardley far beyond her unconventional life and early death at the age of forty-two. Born in 1921 in Sussex, Joan Eardley’s family moved to Scotland in 1939 and a year later she joined the Glasgow School of Art. She found subjects in the shipyards of Clydebank and the slums of Townhead, at first the run-down tenements and buildings and later the children and streetlife around Rottenrow where the character of the people and the place became the vital subject of her work. Her art education was finished with scholarship visits to Paris and the cities of Renaissance Italy and back in Scotland she ventured with her art school friends to Arran and back to the south of France. By the fifties, Joan Eardley divided her life between her studio in Townhead and the fishing village of Catterline, a place she had discovered in the North East of Scotland. Eardley felt at ease in these two contrasting localities and over the succeeding decade, as if by accident, she created an epic vision of the world from no more than two streets and one small fishing hamlet. The slums of Townhead are no more, the harsh realities memorialised by the honesty of her vision, the spirit of the people invested in its children captured, enduring like no other example in the history of art. Catterline remains unchanged and the village is inevitably a place of pilgrimage for the thousands who admire the artist’s deep-felt engagement with nature on the Kincardineshire coast. The Scottish Gallery held its first Joan Eardley exhibition in 1955 and later her memorial in 1964.

The Scottish Gallery exhibitions:
1955 (Festival), 1958 (Festival), 1961, 1964 (Festival and Memorial), 1981, 1983, 1984, 1988, 1990, 1992, 1996, 2007, 2013, 2015, 2017, 2021 (Centenary)