In 2007 Semple exhibited "Fake Plastic Love", an exhibition of billboard scale paintings housed within a blacked out environment of East London's Truman Brewery.
In 2009 he held his first New York solo exhibition "Everlasting Nothing Less" at Anna Kustera Gallery involving large scale paintings and sculpture which also toured London and Milan.

Semple's "The Happy House" series of paintings built upon the themes explored in earlier collections of fears about his generation, as well as commentary on the artifice of media obsession, politics and disappointment.
For the first time he touched on more personal narratives as well as current cultural and political issues.
His self-portrait 'A Pounding Outside Poundland' captured the moment Semple was assaulted.
He told Esquire "I feel I have been analysing popular culture from outside itself by using its own languages".

The solo exhibition "It's Hard To Be A Saint In This City" in Hong Kong heavily featured text in and on sculptures, exploring poetry and song lyrics of adolescent dreaming and isolation.

Solo exhibition "Suspend Disbelief" (2013) in London explored ideas of superstition and illusion.
Semple created an immersive exploratory environment with film, paintings and sculpture throughout 15 rooms, where magic tricks were performed by holograms, childhood experiences revisited and he questioned the cycle of life and death within a projection dome where hundreds of flowers perpetually bloom in time lapse. "
It's like life without any death because they never wilt."

"Anxiety Generation" (2014) at Delahunty Gallery on Bruton Street was reviewed in Modern Painters by Jonathan R Jones who likened the series to John Carpenter's film "They Live" and referencing Heidegger and Derrida in context of the erasure of text used by Semple "words in his paintings ("too high, too far, too soon," "cool aid," and "Froot Loops") are frequently crossed out, suggesting their inability to convey meaning", and commends the achievement to cut through our cynicism and give images again the power to disturb with his use paint where horror images have been immortalised out of the faster moving social media image world that can see society numb to continual rolling images of war and disaster.

"My Sonic Youth" (2015) held in Fabien Castanier Gallery, Los Angeles, talks about the cultural shift that teenagers have seen in the decades since Kurt Cobain's death.
Speaking to Hunger, Semple is quoted: "I hate to be pessimistic but if I'm honest I feel really worried about it.
The gap between rich and poor is going to become colossal.
Systems of surveillance and control are going to become even more perverse.
Physical spaces and virtual ones will continue to become inverted to a point where more life is lived virtually than physically.
The level of online surveillance will increase in proportion to the growing level of fear in the population.
Initially, this will look like freedom and this fake freedom will cause a shift in the dominant ideologies.
Our value system will change until safety is top of our list and our belief in risk and threat will be unwavering.
Atomised, individualistic egoism will grow and continue to be temporarily satisfied by shopping.
We will become increasingly distanced from history.
Counter-cultural voices within the arts will become commodified faster and faster and therefore [be rendered] inert.
Our self-identity will become more fluid through use of online avatar and selfie-shaping tools and apps.
The result of that will be our true physical selves will become more unloved and we'll feel empty.
Profits from anti-depressants will rise."
In 2007 Semple exhibited "Fake Plastic Love", an exhibition of billboard scale paintings housed within a blacked out environment of East London's Truman Brewery. In 2009 he held his first New York solo exhibition "Everlasting Nothing Less" at Anna Kustera Gallery involving large scale paintings and sculpture which also toured London and Milan.
Semple's "The Happy House" series of paintings built upon the themes explored in earlier collections of fears about his generation, as well as commentary on the artifice of media obsession, politics and disappointment. For the first time he touched on more personal narratives as well as current cultural and political issues. His self-portrait 'A Pounding Outside Poundland' captured the moment Semple was assaulted. He told Esquire "I feel I have been analysing popular culture from outside itself by using its own languages".
The solo exhibition "It's Hard To Be A Saint In This City" in Hong Kong heavily featured text in and on sculptures, exploring poetry and song lyrics of adolescent dreaming and isolation.
Solo exhibition "Suspend Disbelief" (2013) in London explored ideas of superstition and illusion. Semple created an immersive exploratory environment with film, paintings and sculpture throughout 15 rooms, where magic tricks were performed by holograms, childhood experiences revisited and he questioned the cycle of life and death within a projection dome where hundreds of flowers perpetually bloom in time lapse. "It's like life without any death because they never wilt."
"Anxiety Generation" (2014) at Delahunty Gallery on Bruton Street was reviewed in Modern Painters by Jonathan R Jones who likened the series to John Carpenter's film "They Live" and referencing Heidegger and Derrida in context of the erasure of text used by Semple "words in his paintings ("too high, too far, too soon," "cool aid," and "Froot Loops") are frequently crossed out, suggesting their inability to convey meaning", and commends the achievement to cut through our cynicism and give images again the power to disturb with his use paint where horror images have been immortalised out of the faster moving social media image world that can see society numb to continual rolling images of war and disaster.
"My Sonic Youth" (2015) held in Fabien Castanier Gallery, Los Angeles, talks about the cultural shift that teenagers have seen in the decades since Kurt Cobain's death. Speaking to Hunger, Semple is quoted: "I hate to be pessimistic but if I'm honest I feel really worried about it. The gap between rich and poor is going to become colossal. Systems of surveillance and control are going to become even more perverse. Physical spaces and virtual ones will continue to become inverted to a point where more life is lived virtually than physically. The level of online surveillance will increase in proportion to the growing level of fear in the population. Initially, this will look like freedom and this fake freedom will cause a shift in the dominant ideologies. Our value system will change until safety is top of our list and our belief in risk and threat will be unwavering. Atomised, individualistic egoism will grow and continue to be temporarily satisfied by shopping. We will become increasingly distanced from history. Counter-cultural voices within the arts will become commodified faster and faster and therefore [be rendered] inert. Our self-identity will become more fluid through use of online avatar and selfie-shaping tools and apps. The result of that will be our true physical selves will become more unloved and we'll feel empty. Profits from anti-depressants will rise."
Stuart Semple