“I think about the work as anti-nostalgic,” explains Hudson. “Nostalgia, for me, is about being homesick for a distant past. I’m not homesick for the past because I exist in the material world of the 70s now through my relationship with objects. Being a young artist, there can be a pressure to simplify your work to make it more palatable for certain audiences,” Hudson tells me when I ask her about navigating personal responsibility. “I’m very respectful of the materials from the 70s that I’m working with, so when they start to become reduced to what they look like, or their meaning is taken out of context, it can be challenging.” 

Over the last few years, we’ve seen Gen Z collectively revel in nostalgia, revisiting the safety of the past to escape the fragility of their present. While on the surface it’s easy to see how Hudson’s work has become emblematic of her generation, her idiosyncratic practice is more interested in confronting the present through our material past.