I first came across Laura Hudspith’s work in 2019, which coincided with a shift in the artist’s practice to a more autotheoretical approach that draws on her lived experience with chronic illness. At that time, I was months deep into my own isolating and confusing journey that would eventually lead to the diagnosis of fibromyalgia, the latest in a growing list of medical conditions that have shaped my life to date. I was immediately drawn to Laura’s compelling use of object, image, and text in relation to both the individual and the collective body. I felt a wave of relief; I felt seen. Despite the fact that I initially encountered Laura’s work virtually, the impact of her practice is evident in the sense of connection and comfort it offered me in a time marked by unknowing.
Splitting her time between Pittsburgh and Toronto, Laura has since continued to deepen her engagement with the intersections of art, critical theory, politics, and medicine, resulting in a wide range of material experimentation as she works towards the completion of her graduate degree. This winter, I had the privilege of sitting down with Laura for an in-depth conversation about her practice, traversing multiple bodies of work from 2020 to the present day.