‘Myth Eaters’ is Kate’s latest body of work developed during their residence at RuptureXIBIT, in response to their research on contemporary implications of ancient myths, especially as they relate to the sticking power of belief around gendered roles in society, and the origins, outlines, and implications of "expected rules regarding the expression of gender in society" from private performance to public.

”I must be painting the unsayable world. I think this as I sit and stare at the tumbling chaos in front of me. The usual languages—the news language, the theory language, the myth language, even the “progress” language—keep failing or, worse, keep laundering what’s happening. Paint becomes maybe the only honest speech left: it drags, interrupts, won’t resolve, because any sort of resolution would be a lie. I don’t know how all of this hangs together other than in Myth, perhaps that’s why we feel like we are in this great unraveling (polycrisis).

In tracing how misogynistic violence isn’t an “issue” over there in a separate box, it becomes clear that it is and can never be isolated as a stand-alone issue, rather it pulses as a river, a structural current that runs through everything—myths we call beautiful, museums we trust, technologies we pretend are neutral, the industrial sublime, the concept of “progress” as empirically important, perhaps the point, maybe this narrow path creates the social contract itself—so the question isn’t “why is it in the myth” but “why do we keep desiring it, excusing it, calling it historical, training women to translate fear into gratitude, and then acting surprised when the algorythm learns our cruelty and scales it.”*

*Excerpts from Howe’s writing on their substack.