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Delphi Campbell

15 hours before I was due to set up my show at the Dolphin I was informed that I couldn't do my show, as the venue is not wheelchair accessible.

she/her

My work exists as an invitation to explore my brain, an absurd map of my life. The identities and titles in my life chart the course, both the ones I embrace and the ones I reject. Disability is at the core of my work, a discussion that I only feel is more important after my time in Oxford. While my work stems from my lived experiences, it also considers the socio-political frameworks that uphold these oppressive systems. 

I strive to deliver raw, but humorous, self-portraits that each demonstrate a facet of my being, the body of work collectively unravelling my identity. My work chases a compulsion, an obsession, with my presence on this planet, and this drive not only initiates the work but also informs the manner of making. I prefer to work in a fast, ad hoc, rough and ready way, primarily utilising soft sculpture to create displays of my experiences, memories, body and mind.

washing line (4) 2022
washing line (4) 2022

installation of various soft sculptures and materials. polyester yarn, reclaimed fabrics, stuffing, polyester thread, cotton thread, latex, human hair, lightbulbs, extension cable, clothespegs, spray paint, acrylic, sharpie, paper, staples. a white room with a concrete floor has a series of yarn washing lines crossing over the space, each with various fabric sculptures and materials hanging from them. all of the objects are pink, red, brown, black, or white.

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Untitled 2022
Untitled 2022

Scrap wood, emulsion, nails, scrap fabric, stuffing, polyester thread. A room with white walls and concrete floors has a long, rectangular plinth in the centre. Just in front of the plinth is a tube shaped soft-sculpture, made up of a patchwork of pink and red materials.

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washing line (3) 2022
washing line (3) 2022

installation of various soft sculptures and materials. polyester yarn, reclaimed fabrics, stuffing, polyester thread, cotton thread, latex, human hair, lightbulbs, extension cable, clothespegs, spray paint, acrylic, sharpie, paper, staples, table. a white room with a concrete floor has a series of yarn washing lines crossing over the space, each with various fabric sculptures and materials hanging from them. all of the objects are pink, red, brown, black, or white.

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washing line (4) 2022
washing line (4) 2022

installation of various soft sculptures and materials. polyester yarn, reclaimed fabrics, stuffing, polyester thread, cotton thread, latex, human hair, lightbulbs, extension cable, clothespegs, spray paint, acrylic, sharpie, paper, staples. a white room with a concrete floor has a series of yarn washing lines crossing over the space, each with various fabric sculptures and materials hanging from them. all of the objects are pink, red, brown, black, or white.

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I am drawn to soft sculpture, fabrics and stuffings for their pillowy femininity, their bare fleshy feeling and comforting tactile experience. My choice of materials is balanced between sustainability, cost and accessibility, and they guide the development of the pieces. In my sustainable efforts I typically recycle materials from previous works, use found objects and pre-loved fabrics and this has become as an important part of my practice as the outcome of the objects I make.

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Ruskin MFA 22