Howe’s practice involves the use of painting, sculpture, sound and poetry. The aim is to challenge the properties of the material by adding contrasting substances to create a resistance, learning about the fluidity of material leads the process to have playful importance to the making, capturing the elements of the fluorescent, manufactured, organic and the artificial.
The act of using colour is a performance, a romantic compelling act to articulate Howe’s thoughts that cannot be expressed without colour. Glitter, gloss and shiny copper leaf are displayed to comment on this desire to view a sparkly substance, reminiscing of the reflection in the sea. Plastic is always present in the work, reflecting on how the material is everywhere. By arguing over the traditional and creating playful new inventions, with references to dog toys, samurai swords and pink feathers, is Howe responding to the seriousness of what art is?
Howe wants to capture the work before it collapses into a kitsch decoration, with the painterly sculptures into a kitsch decoration, with the painterly sculptures being the edge of declining. Elements of excitement, curiosity and ambiguity self- reflect within the work. Destroying any narrative and direct representation of reality is what is fascinating for Howe. An element of ‘falling’ is always present, by the work being on the borders of abstraction and figuration. Will the work disintegrate into a memory, due to its afflicting nature? Or can it be held due to the strength in the materiality? Howe use vibrancy for hope as she questions, ‘am I doubting the rhythm of collapse?’ responding to the uncertainty of the/our future.