My current painting series began in November 2018 marking a departure from previous work. A process of doodling, a form of dérive, drifting through the unconscious mind already saturated by images, trigger the paintings. Lines search out the shrapnel embedded by external forces to provide provisional armatures for future paintings that are; contingent, promiscuous, duplicitous, absurd, camp. My paintings are a means of dealing with the mess of our times, a slow resistance to conditions of technology and commodified attention.
As the paintings evolve one reference leads to another, one image triggers another so that they cannot help but reflect both present conditions and previous knowledge. Porous and open they make aggregated reference to histories of art, contemporary politics, personal iconographies, popular culture, social conditions and meta-memories saturated by incoming data.
These narrative figurations are irreverent, darkly humorous and made with political intent. In a situation of increasing image circulation and misinformation, painting is a strategy for me to deal with the digital water boarding, an analogue tactic and slow resistance to the electronic shrapnel that permeates life. The process of painting is a means to sift through information overload and image noise to find the most meaningful bits.
Disruption and duplicity are essential in my practice. Recent paintings attempt to reveal the traces of what has gone before and to engage in painting as part of a larger network of residues and visible forces. One thing might resemble something but is never entirely fixed to it. The paint plays with the resemblance of things so that the viewer is not required to read the picture but to remain open to it. My paintings operate as markers to put over the things that are perhaps hidden but seem most dangerous to me. Visualisations of the fissures in the tank that cause an electric pulse I cannot pass by, their surfaces are palimpsests for the survival of images so that they cannot simply be forgotten.
Laura Hudson is an artist and writer with a background in film and new media curation. A graduate of Glasgow School of Art’s Environmental Art department, Hudson went on to study artist moving image at Central St. Martins and is currently studying for an MA in fine art at City & Guilds of London Art School.
Her early work took the form of public interventions, site-specific works and expanded cinema with a distinctly queer-feminist agenda, which led into curation and a career specialising in political avant-garde film and new technologies. She worked for a range of organisations including; Women in Profile, London Filmmakers Co-op (Lux), Cinenova Feminist Film Distribution, Arts Council England (Broadcast & New Media) and FluxIT Digital Agency. In 2004 food security activism took her away from the city to work on the preservation of edible seeds on a Cevenol farm in France. Returning to the UK in 2012 to re-start her art practice with a renewed focus on drawing, painting and printmaking, Hudson now lives and works in London.
Trinity Buoy Wharf (formerly Jerwood) Drawing Prize, 2018, Student Prize for the Nail House Drawings
Scholarship Bursary from the Royal Female Art School, 2018-2019.
The Roger de Grey Drawing Prize, 2018
Patron’s Prize for Contemporary Watercolour from the Royal Watercolour Society (2017)
ColArt (Windsor & Newton) TFAC residency November 2018
Joya:AiR, Spain 2017
Artist in Residence/Print Fellow, Plymouth College of Art, 2015