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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


Produced by NICHOLAS SILVANI
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.


 
SALON A COTE #3 - LAURA HUDSPITH AND NICHOLAS ZIRK

Salon À Côté #3 at À Côté Studio, Toronto ON.


MARCH 17 – 30 2018
Produced by FRANÇOIS A CÔTÉ


Duo Exhibition
featuring:


21 works by LAURA HUDSPITH + NICHOLAS ZIRK – 14 from Hudspith and 11 by Zirk.
 

 


 
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DRIVE IN at KATZMAN CONTEMPORARY, Toronto ON.
July 1, 2017

One night only film Festival.

featuring:

LAURA HUDSPITH
BROADBENT SISTERS
CHUN HUA CATHERINE DONG
TRUDY ELMORE

Works included in exhibition: 

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

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DRIVE-THRU at KATZMAN CONTEMPORARY, Toronto ON.
June 9 - August 5, 2017

21 Artist Multiples Exhibition. Featuring:

BARBARA BALFOUR, BROADBENT SISTERS, STELLA CADE, BRANDON A. DALMER, JAMES GARDNER, WYN GELEYNSE, IDO GOVRIN, LAURA HUDSPITH, JOHN KISSICK, BRADEN LABONTE, MERYL McMASTER, SAM MOGELONSKY, MEGHAN PRICE, YVONNE SINGER, MILES STEMP, TIAN XIAOLEI, YI XIN TONG, VSVSVS, DUSTIN WILSON, XIAOJING YAN, AKIRA YOSHIKAWA

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


 
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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
2016


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.
2015

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.