Chill Life; Contemporary Still Lives, The White House
277 Augusta Ave, Toronto

OPENING Thursday AUG 29 | Aug 29 - Sept 5, 2019

featuring artits:


Come out and hang for a closer examination of still life. These artists approach the centuries old genre from fresh and exciting perspectives, using the tropes and motifs of still life to consider a range of contemporary issues.

Still life since the renaissance has been an allegorical genre, a means of using objects and arrangement to convey meaning. Whereas the dutch painters of the reformation coded morals and social values into their still lives, the contemporary still life takes a more oblique approach. These six artists use elements of still life to expound a variety of current issues, from feminist discourse and identity markers to reductivity and information transfer.

Chill Life show card 2019

Things Fall Into Place postcard image

things fall into place
a collaborative still life installation by Laura Hudspith & Nicholas Zirk.

Red Gate Gallery, 1965 Main St.
Vancouver, BC

AUGUST 1–15th, 2019
OPENING Reception August 1st

Sharing a studio for the last four years, Hudspith and Zirk have seen the other’s influence develop in their recent work; colour-ways, content and overall temperament have begun to overlap. Based on a shared interest in the still life genre, the artists have worked to synthesize their respective practices as July artists-in-residence at the James Black Gallery. ‘things fall into place’ is the product of this collaboration culminating here at Red Gate Gallery as an immersive installation.

Working site responsively, their process began with objects, images and materials collected around the Lower Mainland–their collection acting as the semiotic-aesthetic springboard for the creative process. The resulting exhibition plays with perspective and reductivity, examining the meanings we make through the objects that we keep. Collections of found objects and cast facsimiles are composed and stacked across interconnected surfaces, while paintings in the round and drawn symbols expand and flatten the genre of still life. Stage-like structures are reminiscent of contemporary photography and the genre’s renaissance as a consumer culture motif, while others echo the architectural elements of the gallery space.

For more on Hudspith & Zirk’s ongoing collaborative work, visit the collaboration section of portfolio.

Gallery o-o LA’s traveling group exhibition series ‘Got it for Cheap’ 2019. This year, GIFC will be presenting work from 750+ international artists during the following events:

February 16&17 at The Costume House in Toronto
165 Geary Ave, 2nd Floor, Unit A

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February 16&17 at The Costume House in Toronto, CDN 
February 23rd Velvet Ropes at Showhouse Jay Jay in Antwerp, Belgium 
February 26-27th GIFC at Agnes B Headquarter in Paris, France
March 10th GIFC at The Hole NYC in New York, NY 
March 31st GIFC at Soil Gallery in Seattle, WA
April 6th GIFC at Western Exhibitions in Chicago, IL
April GIFC at DATELINE in Denver, CO
May 25th GIFC at Elephant Gallery in Nashville, TN
July GIFC/Velvet Ropes at Pt. 2 in Oakland, CA 
August 17&18 at Galleri Golsa in Oslo, Norway

Works Included in Upcoming GIFC Shows:

12 Single Edition, digital offset prints – including prints from works such as Low Hanging Fruit [Cornucopia], 2017 and Amarus Ends, 2018, as well as video stills from video-works On The Table, 2017, and Peach’s Peaches, 2018.

While the creation of multiples through the process of moulding and casting forms the foundation of Laura Hudspith’s installation-based practice, works in series or edition are uncommon. Thus, new work by the artist titled  Amarus Ends , responds to the theme of 3/e Editions Toronto in the creation of a sculptural still life that separates into an edition of ten, each object compositionally unique. Hudspith’s 2018 stilled work carries the same duality that marks the genre’s history, both subversive and indifferent.

While the creation of multiples through the process of moulding and casting forms the foundation of Laura Hudspith’s installation-based practice, works in series or edition are uncommon. Thus, new work by the artist titled Amarus Ends, responds to the theme of 3/e Editions Toronto in the creation of a sculptural still life that separates into an edition of ten, each object compositionally unique. Hudspith’s 2018 stilled work carries the same duality that marks the genre’s history, both subversive and indifferent.

Hektor Projects at 3/e EDITION TORONTO, Toronto, ON.
Located Metro Toronto Convention Center and co-hosted Art Toronto.

OCTOBER 26-28th, 2018
Collector Preview – OCTOBER 25th, 6-10 pm

Hektor Projects presents new work responding to the theme of editions by eight artists including Laura Hudspith, Juliet Di Carlo, Luca Soldovieri, Rachel Burns, Brody Weaver, Alexis Vo, Sophia Oppel, and Toko Hosoya.

Amarus Ends, 2018. A sculptural still life comprised of over 100 moulded and cast elements. The piece separates into an edition of ten and sold piecemeal.

Amarus Ends, 2018. A sculptural still life comprised of over 100 moulded and cast elements. The piece separates into an edition of ten and sold piecemeal.


Pink Champagne presented by WRECK CITY Residency, Calgary AB. Located on 16th Ave SW - RADIO CITY building.

Solo Public Art Exhibition upon completion of this site-specific residency.

JULY 27 - AUG 12, 2018

Founded in 2013, WRECK CITY is a Calgary-based collective that curates experimental art exhibitions in alternative spaces.

Rippling water and cascading soundscape frames Laura Hudspith’s playful installation, Pink Champagne. In what was once a french patisserie, the space now plays temporary site to a large central fountain and two small free-standing sculptures. A pair of muscular legs and abdomen stand mock-heroically in a classic contrapposto pose at the fountain’s center. While their posture recalls well-known sculptures of antiquity such as “David", by Michelangelo, the pink soap-cast figure in this fountain will erode into a mess of bubbles. Smaller sculptures at the fountain’s edge depict a disembodied arm and hands making comical gestures towards their companion legs, and hold the objects necessary for a whimsical and frivolous contemporary summer day.

WRECK CITY 2018 RESIDENTS – Amber Phelps-Bonderoff & Jeff Meldrum, Catron Booker, Chris Foster & Layne Hinton, Craig Fahner & Matthew Waddell, David Hoffos, Laura Hudspith, Long Distance Call (Frédéric Bigras-Burrogano & Marianne Williams), Nasarimba (Rachel Ziriada & Mikhail Miller), Nate McLeod, Sarah Houle-Lowry, Sarah Smalik, Sara Tilley & Jamie Tea, Sarah van Sloten, Teresa Tam, and Zain Alam

Lorem Ipsum–Laura Hudspith–Show Card 2018

Lorem Ipsum presented by This Month Only Gallery, Toronto ON.
Solo Exhibition

Exhibition text by MORRIS FOX

JUNE 15 – 23, 2018

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An immersive and interactive installation combining sculpture, video, neon, and edible works.

OAC Logo


Salon À Côté #3 presented by À Côté Studio, Toronto ON.

MARCH 17 – 30 2018

Duo Exhibition

A colourful mix of still life and portraiture traversing such mediums as painting, photography, sculpture and video, Salon À Côté is pleased to present Salon #3 LAURA HUDSPITH + NICHOLAS ZIRK. 21 works in all, 14 from Hudspith and 11 by Zirk.



July 1, 2017

One night only Film Festival featuring:


Works included in exhibition: 

Peach's Peaches [video], 2017
On the Table, 2017

Katzman Contemporary Logo

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June 9 - August 5, 2017

21 Artist Multiples Exhibition. Featuring:


Hudspith considers the role of the individual as simulation takes on increasing import in the framework of Western culture. Familiar forms cast in peculiar materials combine to create playful, even absurd sculptural collages. Hudspith connects the repetitive rituals of food, beauty, and sex together with a sense of diluted glamour and the question of individual agency.
Works included in exhibition: 
Low Hanging Fruit (Cornucopia), 2017
Garden, 2017
Fountain of Dreams, 2017
Peach’s Peaches, 2017



Exhibition essay written by Ashley McLellan, Impressions of TL;DR - New Exhibition by Laura Hudspith.

TL;DR – SOLO EXHIBITION at Project Gallery, Toronto
May 18 – May 28, 2017

Hudspith transforms the gallery into a dramatic installation combining sculpture, video projection, and neon, where light emanating from each work illuminates the next. Her projected tableaux vivant depicts a near motionless woman amidst both real and faux, fresh and rotting delicacies, conjuring a sense of stagnation and tension. A large unmarked grave across the gallery’s floor pulses light and sets a synthetic overgrown garden aglow, its dense flora saturated with viscous biofluids. Neon light casts the flippant message ‘tl;dr’ across the scene, and creates a sense of an impassable force.

Upon discovering her own incongruous memory of a passage written by Alice Munro in Lives of Girls and Women, where the young protagonist misunderstands the gravity of a gruesome truth and instead envisions an implausible alt-reality, Hudspith staged and filmed her own elaborated version of this illogical error. In her tableaux, a woman lays on a cold marble tabletop amidst a feast. The figure is at once hyper-sexualized and neutered, her body revealed underneath a clear plastic dress so tight as to flatten her curves. Fruit begins to rot, pink milk sours, a glass of black liquid is overturned. What’s left reveals its synthetic nature – a silicone aspic, plastic fruit, pink rubber tarts – and the woman in the dress remains breathing lightly.

The artist is interested in the effects of cultural trends on the way people understand the world’s workings and their agency within it. In particular, Hudspith contemplates the effects of individualist culture on radicalization and the growing divide between socio-political ideologies. Using a feminist lens through which to examine this divide, TL;DR creates a picture of contemporary communication caught in between cause and effect, dialogue and the echo chamber, life and death, gender and equity, and naivete versus the explicit.

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This Is What Makes Our Guts So Vibrant at Truck Contemporary Art, Calgary AB - Nov 18 - Nov 24, 2016

Curated by Dana Buzzee

Works included in exhibition: 

The Semi-Attached Couple
working fountain
foam, acrylic paint, readymades, pump, water, sugar

Striking an enigmatic balance between bold formal elements and momentous content, This Is What Makes Our Guts So Vibrant is a group exhibition not to be missed.

This Is What Makes Our Guts So Vibrant features a comprehensive array of work from artists Cassandra Ellanor Avery Faire, Dainesha Nugent-Palache, Emily MacDonald, Laura Hudspith, Nine Kennedy, and Susan Clarahan. Laden with charm and power, This Is What Makes Our Guts So Vibrant builds a dialogue about identity by confidently destabilizing the hierarchies of dominant culture.

Femme Wave's 2016 visual arts programming is an exploration of femme identities in their many forms, pluralities, and understandings. Aiming to be inclusive and intersectional in both politic and approach, this programming endeavours to shift binary thinking. Clear traditions and understandings become murky, without boundary, and offer reprieve from any single meaning or expression of what it means to be femme.

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LacunaeSOLO EXHIBITION at Project Studio Gallery, Toronto
April 1st - 24th 2016


Lacunae, is a solo exhibition of new work by Toronto-based artist, Laura Hudspith. The work combines the artist’s ceramic practice and her experience and fascination with taxidermy. The resulting body of work is one that examines our tendency to satisfy nostalgic impulses and to fill emotional voids through collecting and amassing objects and ‘things’.

Of particular interest to Hudspith is the intersection between this common pattern of consumption and au courant ideologies as well as fashionable trends. Employing both humour and hope, Lacunae’s complex porcelain objects paired with animal, insect and manufactured material, canvas such diverse themes as sentimentality and longing, ownership and power dynamics, mass consumption, and the paradox between mortality and permanence.

Q&A Interview by Sonja Socknat, Laura Hudspith: 'Lacunae'

Exhibition Essay written by Alex Raponi, Laura Hudspith; Project Gallery


Text + images courtesy of Inter/Access Gallery.

Video and project description available here. 

Once Removed at Inter/Access Gallery, Toronto                         
Oct . 8th - Dec. 19th, 2015

Curated by Brandon A. Dalmer

Works included in exhibition:

Untitled Feedback Paintings
Laura Hudspith and Nicholas Zirk collaboration
Two Paintings, acrylic on linen, & video projection.

InterAccess presents Once Removed, an exhibition featuring all new works in painting, sculpture, installation, and animation that use experimental techniques and media to address the potential of production in the absence of an artist. As technology continues its rapid advancement, computers and other devices become increasingly capable of fulfilling the role of the artist’s assistant, marking a shift from manual to digital production. Following this trajectory, artists are confronted with the opportunity to ease their workflow by outsourcing increasingly complex tasks to machines. Once Removed tests the limits of what is possible without the artist’s hand.

The artists in Once Removed have entrusted production to various algorithms, programs, and machines, allowing these digital and mechanical processes to shape the physical and aesthetic characteristics of the works. Brandon A. Dalmer’s paintings attempt to replace the artist’s hand by enabling computer algorithms and machines to abstract source imagery and shape the physical paintings. Tobias Williams’s experimental animation tests how much generative output can be created with minimal input from the artist. Tyler Vipond’s AI artists create collages automatically through semi-random internet searching. By training Cleverbot to have more conversations about art, Matthieu Sabourin assisted Cleverbot in generating an artists’ manifesto. In their collaborative painting, Laura Hudspith & Nicholas Zirk rely on video feedback loops and colour-picking software to produce the works.