C’est alors que la découverte de la sculpture marque un tournant dans sa vie. Elle s’éloigne de l’enseignement académique pour se consacrer exclusivement au modelage dans lequel elle trouve son langage. Bien qu’elle réalise rapidement ses premières ventes, ses sculptures demeurent un certain temps dans la sphère de l’intime, le temps pour elle d’affirmer son travail et de sentir la possibilité de le faire exister au-delà de son monde intérieur.
En 2018 son travail a été récompensé par le Prix du Jury du Salon National des Beaux Arts à Paris.
Delphine Rodrigue was born in 1982 and spent her childhood in French West Indies. The rest of her family lived all over the world and she grew up surrounded by various cultural references. She early liked arts to express herself especially through dance, drawing and painting. As a teenager she settled in Paris to improve her artistic practice.
She discovers the sculpture and finds her own langage. She decides to leave academic teaching to focus on clay. Soon she makes her first sales, but she takes the time to assert her work and make it exist.
In 2018, her work won the Jury Price of Salon des Beaux-Arts in Paris.
The way she workes is deeply connected to her love of volumes and to the pleasure she finds in the compulsif gesture of adding clay. The callipygian women she creates are born of this relation with clay. The volumes are hardly stretched to combine fullness and lightness, the smooth-stretched finish enhances the purity of the curves and invites to caress.
This artistic signature offers two levels of interpretation. Forts, humour comes from the paradox between volumes, grace and lightness. These funny bodies challenge the conventions but also question our representations about the place of women in society. Original or stereotypical representations, symbol of emancipation and freedom, the female body is full of history. It is here reinterpreted and staged in its relationship to the world and the object, in a resolutely contemporary perspective.