Kate Downie

In the filmic sense, this drawing is a long exposure portrait of a previously un-named Edinburgh junction over six hours. It is intriguing to discover and name ‘no-where’ places and thus to call them into being like a god.  Four separate histories named the approach roads but not the key place where they meet or those who use it.  Junction 47 now exists not only as a romantic act of imagination but also as a territory under investigation as if by detectives or journalists