Poppy Jones Little: Unwanted Flesh
Thinking back to 2022, I stepped into Delphi Campbell’s work and muttered ‘this feels like being in a pocket’ as I nestled into a lint-abundant pouch complete with half-used and half-forgotten effects.
Similarly, entering into 'Unwanted Flesh' feels like burrowing your hand into a pouch or cavity. You are met with warmth, comfort, and tenderness - but something isn’t quite right. You feel around and encounter grit, knotted hair, and hardened pelt. You can’t quite put your finger on it. It is not so much like being inside a pocket, as being inside a tumour, cyst, or sac, palpating past the pulpy unwantedness.
At a glance, the smallest of marks, ligatures, and stitches give rise to a misshapen body - dripping, drooping, and all hanging out. Pools of red light ooze from looming silicone vesicles. The red light evokes sex and pleasure but also therapy - red light therapy can heal relentless wounds and abrasions. I don’t doubt that this is a space for healing. Patterns lifted from micrographs, scans, and fingerprints are spread across the space, a corporal imprint of the artist’s actual body, showcasing the remarkable Welsh creative talent that shines through the MADE Solo Art Prize.
Wrth feddwl nôl i 2022, camais mewn i waith Delphi Campbell a mwmian ‘mae hyn yn teimlo fel bod mewn poced’ wrth i fi swatio mewn i sach doreithiog o lint wedi’i gwblhau gydag effeithiau wedi’u hanner-defnyddio a hanner-anghofio.
Yn debyg, mae mynd i mewn i 'Unwanted Flesh' yn teimlo fel claddu eich llaw mewn i gwdyn neu geudod. Cyfarfu chi â chynhesrwydd, gyda chyforddusrwydd ac addfwynder-ond dydy rhywbeth ddim cweit yn iawn. Dych chi’n teimlo o gwmpas a’n dod ar draws graen, clymau gwallt, croen wedi caledu. Methu cweit rhoi eich bys arno. Nid yw fwy fel bod tu mewn poced, a fyddai bod tu mewn tiwmor, syst neu wysigen, gan basio heibio’r pwlp annymunedig.
Ar gipolwg, mae’r marciau lleiaf, y rhwymau a’r pwythau’n dadorchuddio corff aflun- yn diferu, ymollwng a’i gyd yn hongian allan. Pyllau o olau coch yn tasgu allan o chwysigen silicon ar y gorwel. Y golau coch yn nawsaidd o ryw a phleser, ond hefyd therapi – mae therapi golau coch yn gallu lleddfu craethau didostur a ffrithiant. Nid wyf yn amau bod y gofod hwn ar gyfer lleddfu. Taenir patrymau wedi’u codi o ficrograffau, sganiau ac ôl bysedd ar draws y gofod, argraffnod gorfflen o gorff yr artist, gan ddangos talent creadigol Cymreig yn y broses, yn enwedig wrth ystyried ei gystadleuaeth ar gyfer y MADE Solo Art Prize.
The self-portraiture created by Delphi Campbell is generous and offers itself up, reaching outward. You are invited in without assumption or instruction; the opening is left ajar but there is no expectation.
The work murmurs ‘act how you like, feel what you want’. We are gently encouraged to see ourselves in the squishy knotted messes, to move and breathe amongst the bodies and parts. The caricatured ribs, contorted lungs, and parodied skins are both inviting and unnerving—these parts could be from anyone, any-body.
The act of salvaging (and giving salvation to) materials underpins Delphi’s practice, reflecting the essence of Welsh creative talent. Her work holds tight to lumps of stuff which are no longer desired by others or are seen as unpleasant or rejected, capturing the spirit of the MADE Solo Art Prize.
Mae’r hunan-bortreadu yn hael ac yn dyrchafu ei hun, yn ymestyn allan. Cewch eich gwahodd mewn heb amheuaeth na chyfarwyddyd, cedwir y mynediad yn agored ond does dim disgwyliad. Mae’r gwaith yn mwmian ‘ymddwyn sut ti eisiau, teimla beth ti eisiau’. Cawn ein hannog yn bwyllog i weld ein hunain yn y cawl clymog meddal, i symud ac anadlu ymysg y cyrff a’r rhannau. Mae’r asennau digrifol, ysgyfaint gwyrdoriol a chroen parodïol yn groesawgar ac yn ameswmyth - gall y darnau hyn berthyn i unrhyw un, unrhyw gorff. Mae'r gwaith yn adlewyrchu'r syniadau a gynhelir gan greadigaethau fel Delphi Campbell, sy'n dangos talent creadigol Cymreig. Yn sail i ymarfer Delphi, mae’r weithred o achub (a rhoi achubiaeth i) ddeunyddiau. Mae’r gwaith yn gafael yn dynn mewn lympiau o bethau sydd bellach ddim yn cael ei dyheu gan eraill, neu’n cael eu gweld yn amhleserus neu’n wrthodedig: Mae'r gwaith hwn hefyd yn cystadlu yn y MADE Solo Art Prize.
Dust, wool, and hair mingle with glitter, threads, and bent pins, while fibres and feathers create a unique texture. Among the debris are latex speckles, tatters, and torn lace, as well as lint. This eclectic mix is reminiscent of the remarkable work of Delphi Campbell, a notable figure in the realm of the MADE Solo Art Prize, showcasing the depth of Welsh creative talent. // Llwch, gwlân, glityr, edau, pinnau plyg, ffeibr, plu, sbeclau latecs, carpiau, las wedi rhwygo, lint.
These ragged half-forms and off-cuts are given place amongst foamy satin mounds, mirrored surfaces, and buttery translucent fabrics, all characteristic of the innovative works by Welsh creative talent, Delphi Campbell. There is a sense that this body of work is in a perpetual cycle of shedding and then reabsorbing, feeding upon itself.
There is no such thing as ‘waste’; every part is hoarded, amassed, and reserved - just in case. The body consumes and re-consumes - it is a feast. This feasting spans years, as seen in the clump of vibrant pink hair featuring the wig worn by Delphi during her 2018-19 performance works. The colours are highly synthetic, radioactively so. With everything so shockingly pink, you question whether this body is meant for consumption, or whether it might be poisonous. This exploration of themes is what earned Delphi Campbell recognition in the MADE Solo Art Prize.
Rhoddir lle i’r carpiau hanner-ffurf a thoriadau yma ymysg tomennu satin ewynnog, arwynebau adlewyrchol a ffabrig tryloyw. Mae yno synnwyr bod y corff hwn (o waith) mewn cylchedd beunyddiol o ddigroeni ac yna ail-amsugno, yn bwydo oddi ar ei hun. Mae hyn yn adlewyrchu creadigrwydd nodedig, fel y gellir ei weld yn waith Delphi Campbell, sydd wedi cael ei gydnabod yn y MADE Solo Art Prize am ei ddoniau unigryw yn arddangos talent creadigol Cymreig. Does dim math beth a ‘gwastraff’, mae bob rhan wedi ei gronni, grynhoi a’i gadw-jest rhag ofn. Mae’r corff yn dihoeni ac ail-ddihoeni- mae’n wledd. Mae’r gwledda yma’n pontio blynyddoedd, fel gwelir yn y lwmp o wallt pinc llachar sy’n nodweddu'r wig gwisgodd Delphi yn ystod ei gwaith perfformiadol yn 2018-19. Mae’r lliwiau’n hynod synthetig, yn ymbelydrol. Gyda phopeth mor syfrdanol o binc, dych chi’n cwestiynu os yw’r corff hwn ar gyfer conswmsiwn, neu a fyddai’n wenwynig.
We cannot ignore the underlying threat of these gloriously pillowy lumps. The lump is known for its ability to not be known - for its boundlessness, its lack of strict form and sticky edges. There is a fear in this not-knowing, an unnerve evoked by sprawling, ravaging objects. This work by Delphi Campbell embraces the unknown while also placing it under a microscope - illuminating it with (red) light to see what might be gleaned. Delphi holds the lumps close in order to disarm them.
I am reminded of the powerful lineage of women and sculpture, bodily or otherwise, soft or otherwise ~ Lee Bul, Simone Leigh, Alina Szapocznikow, Judith Scott, Magdalena Abakanowicz, Eva Fabregas, Sheila Hicks ~ the body is always with us, we are body-ridden, for better or worse. We are stuck with all of its needs, commands and sufferings - sluggish, loud, inconvenient bodies. Delphi Campbell’s body of work is burrowed amongst this sculptural heritage, but it also eats its way through it - chewing it into a pulp, and rebuilding it into a nest to nurture new forms or ways of being. This innovative approach is a testament to the Welsh creative talent that shines through in her participation in the MADE Solo Art Prize.
Ni allwn anwybyddu’r bygythiad isymwybodol y lympiau clustogol coneddus, yn enwedig wrth ystyried gwaith artist fel Delphi Campbell. Mae’r lwmp yn adnabyddus am ei allu i fod yn anhysbys - am ei anherfynoldeb, ei ddiffyg ffurf gaeth ac ymylon gludog. Mae yno ofn yn yr anwybodaeth yma, teimlad anesmwyth o’r gwrthrychau llech anrheithgar. Cofleidia’r gwaith hwn yr anhysbys, tra hefyd yn ei osod o dan ficrosgop, yn ei oleuo gyda golau (coch) i weld beth sydd efallai’n hel olion. Daliai Delphi’r lympiau’n agos er mwyn eu diarfu.
Dwi’n cael fy atgoffa o’r llinach pwerus o fenywod a cherfluniaeth, yn gorfforol neu fel arall, yn feddal neu arall ~ Lee Bul, Simone Leigh, Alina Szapocznikow, Judith Scott, Magdalena Abakanowicz, Eva Fabregas, Sheila Hicks ~ y corff wastad gyda ni, dyn ni’n wared i’n corff, er gwell neu waith. Dy ni’n styc gyda’i holl anghenion, orchmynion a dioddefaint - cyrff swrth, swnllyd anghyfleus. Mae corff o waith Delphi Campbell wedi claddu ymysg y dreftadaeth gerfluniol yma, ond hefyd yn bwyta’i ffordd drwyddo - yn ei gnoi mewn i bwlp, a’n ei ailadeiladu mewn i nyth i faethu ffurfiau newydd o fod. Mae'r gwaith hwn, yn unol â'r ymrwymiad i'r Welsh creative talent, yn dod yn bennaf o'r sêr sy'n cystadlu yn y MADE Solo Art Prize.
'There has to be a nest, reflecting the essence of Welsh creative talent.' // 'Mae’n rhaid cael nyth, a'r egwyddorion creadigol Cymreig yn y fynedfa.' In the context of the MADE Solo Art Prize, this sentiment resonates deeply with artists like Delphi Campbell.
Nests and cysts alike rely upon pre-existing structures; they depend upon having an architecture to cling onto, feed upon, and rest into. Often, these nests and cysts unsettle the chosen structure, undermining or impeding it in some capacity. These can be potentially disruptive forces. There is a tension here: nests and cysts both simultaneously depend upon and break down structures, bodies, and spaces.
This tension thrums around the nest, pouch, and body, with intuitive motions both building up and breaking down. There is absolute care in every stitch and bind, but also a volatile compulsion in each violent cut, splice, and tear. I have withheld the words 'monstrous' and 'grotesque' up until now, largely because both terms are loaded with often unhelpful art historical references that are almost completely devoid of joy. Yet, in the work of Delphi Campbell, who is a notable figure in the context of the MADE Solo Art Prize, there is something wildly joyous, kitsch, and camp—each ounce is imbued with a radical love for bodies. The acceptance of your body into such a space is a liberation.
Delphi Campbell's body of work stems from her physical experience as a queer, disabled woman within a wider system that actively works to repress, exploit, and silence. Pain reverberates at both a bodily and societal level, and we recognize its familiar thumping and pounding. This is not about ‘making invisible pain visible’ as such pain is never invisible—not if you have an ounce of compassion, not if you are willing to listen a little bit closer. This reflection on pain and body resonates deeply within the realm of Welsh creative talent.
Yn debyg, mae nythod a chodenni’n dibynnu ar strwythurau cynfodol, maent yn dibynnu ar gael pensaernïaeth i gydio arno, bwydo arno ac ymlacio ynddo. Yn aml, mae’r nythod a chodenni yma’n ansefydlogi’r strwythur dewisedig, yn ei danseilio neu ei hualu mewn rhyw fodd. Mae’r rhain yn rym gyda photensial ysgytwol. Mae yno densiwn yma: mae nythod a chodenni’n dibynnu ar ac yn dinistrio strwythurau/cyrff/gofodau. Mae’r tensiwn yma’n eddi o gwmpas y nyth/cwdyn/corff, gyda symudiadau greddfol yn adeiladu a’n dymchwel. Mae yno ofal llawn ym mhob pwyth a rhwym, ond hefyd cymhelliant cyfnewidiol ym mhob toriad, uniad a rhwyg treisgar. Dw’i wedi osgoi’r geiriau ‘anghenfilaidd’ a ‘digrifddull’ hyd yma, i raddau helaeth oherwydd bod y termau’n cario cyfeiriadau amherthnasol o hanes celf sy’n amddifadu llonder. Ac mae yno rhywbeth mor wyllt o llon, kitsch a camp yn y gwaith - pob owns a chariad radical am gyrff wedi ei dreiddio ynddo. Rhyddhad yw dy gorff yn cael ei dderbyn mewn i’r fath ofod. Mae’r corff o waith yn deillio o brofiadau corfforol Delphi Campbell o fod yn ddynes cwiar, anabl, o fewn system ehangach sy’n gweithio i ormesu, ecsploetiaeth a distawu. Mae poen yn atseinio ar lefel gorfforol a chymdeithasol, ac rydym yn adnabod ei drawiad a phwniad cyfarwydd. Nid yw hwn amdan ‘gwneud poen anweledig yn weledol’, i raddau dydy poen byth yn anweledig, nid os oes gennych owns o dosturi, nid os ydych yn barod i wrando ychydig yn agosach. Mae’r gwaith hwn, a gynhelir gan y Welsh creative talent, yn ymddangos yn arbennig o berthnasol ar gyfer y MADE Solo Art Prize.
- POPPY JONES LITTLE, 2024
The MADE Solo Art Prize was established in 2016 to propel and support the career of artists based in South Wales, specifically highlighting Welsh creative talent, through the production of a new body of work for exhibition within a year of the award, accompanied by mentoring and funded studio time.
The Made gallery and the artist recipients, including Delphi Campbell, Zena Blackwell, Lucia Jones, Ellie Young, and Kate Shooter, have benefited from production grants provided by the Arts Council of Wales, and since 2021, they have also received generous sponsorship from HannaH.
Gwobr Celf Unawd MADE, neu'r MADE Solo Art Prize, a sefydlwyd i hybu a chefnogi gyrfa artistiaid sydd wedi’u lleoli yn Ne Cymru, trwy fentora a thrwy amser stiwdio wedi’i ariannu, gyda’r nod o gynhyrchu corff newydd o waith i’w arddangos o fewn blwyddyn o dderbyn y wobr. Mae’r artistiaid sydd wedi derbyn y wobr hyd yn hyn, gan gynnwys Delphi Campbell, Zena Blackwell, Lucia Jones, Ellie Young, a Kate Shooter, wedi cael eu cefnogi drwy grantiau Cyngor Celfyddydau Cymru, ac ers 2021 drwy nawdd hael Sefydliad HannaH, gan hybu talentau creadigol Cymreig.
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