TAMMI CAMPBELL
b. 1974, CanadaTammi Campbell’s work both challenges and pays tribute to 20th-century modernism, highlighting the continued male dominance of art market narratives as well as the commodification of collectible artworks. In her level of research and execution, she also highlights the labour completed by artists.
Early Years
Born in Calgary and raised in Moose Jaw, Campbell is a graduate of the University of Saskatchewan. She attended the university’s workshops at Emma Lake.
Tammi Campbell: Artworks
Tammi Campbell creates illusions that replicate recognised 20th century art yet also ask viewers to consider why aspects of the art market remain male-dominated. By materially re-enacting the work of modernist artists, Campbell offers a feminist re-reading of established art history. Perhaps the idea of “packaging up” recognised works is a call to create more space for women artists.
Campbell begins her creative process with extensive research into the processes and materials of the artist she is repackaging, and has taught herself to recreate paintings and packing materials (including tape and bubble wrap) using acrylic paints and other mediums. Taking trompe l’oeil to a hyperrealistic extreme, she introduces elements of confusion to the viewer.
- What You See Is What You See (After Stella) (2014) is a strong example of Campbell’s skills in making acrylic paint appear to be other objects, in this case masking tape. Another connection between the two artists is that Stella led the 1967 Emma Lake Artists’ Workshops, which Campbell attended during the aughts as part of her research into modernism.
- Campbell’s Soup Can Framed (Cream of Vegetable) with Polyethylene Sheeting and Packing Tape (2021) recreates Andy Warhol’s iconic work, wrapping it in faux bubble wrap, cardboard and poly, painstakingly crafted from acrylic paint.
- He Enjoys the Co Of Women (2023–2024) replicates and wraps Edward Ruscha’s 1976 work, using pastels, paper, wood, plexiglass and acrylics. (Other Ruscha-inspired works by Campbell from the same period include Honey, I Twisted Through More Damn Traffic Today (2024).
Tammi Campbell: Select Residencies
- Emma Lake Artists’ Workshop, University of Saskatchewan (2001, 2003, 2007)
- Banff Self-Directed Artist in Residence, The Banff Centre (2010)
- 30th Edition of the Baie Saint-Paul International Symposium of Contemporary Art (2012)
- Artist in Residence, Artscape Gibraltar Point, Toronto Island (2014)
- International Studio and Curatorial Programme, New York City (2018)
Tammi Campbell: Exhibitions
Select Solo Exhibitions
- As Long as it Takes, Anat Ebgi, New York City (2024)
- On View, Blouin Division, Montreal (2022)
- Exactly Wrong, Masahiro Maki Gallery, Tokyo (2021)
- Bring Ice, Thanks, Arsenal Contemporary, New York City (2019)
- Boring Art, Anat Ebgi, Los Angeles (2019)
- Strike, Division Gallery, Toronto (2018)
- Dear Agnes, Esker Foundation, Calgary (2018)
- Tammi Campbell, Galerie Division, Montreal (2017)
- Mono/Chromatic, College Building Galleries, University of Saskatchewan, Saskatoon (2016)
- Abstraction and Empathy, Mackenzie Art Gallery, Regina (2016)
- New Works, Galerie Hugues Charbonneau, Montreal (2015)
- Concerning Certain Events, Mendel Art Gallery, Saskatoon (2015)
- Fool Me Twice, Dunlop Art Gallery, Regina (2013)
Select Group Exhibitions
- Thick as Thieves, The Whyte Museum, Banff/Alberta (2026)
- Ten X Ten, Griffin Art Projects, Vancouver (2025)
- Superbloom, Arsenal Contemporary, New York City (2025)
- Scratches on the Film, Anat Ebgi, Los Angeles (2025)
- Clear History, Perrotin, Paris (2025)
- Colour in Place, Remai Modern, Saskatoon (2025)
- Vampire: Mother, Anat Ebgi, Los Angeles (2024)
- The First Taste, Anat Ebgi, New York City (2024)
- Storage Wars, The Hole, Los Angeles (2023)
- Pt 2: Invasive Species, Anat Ebgi, Los Angeles (2021)
- Not Too High, Not That Low, Division Gallery, Toronto (2018)
- Entangled: Two Views on Contemporary Canadian Painting, Vancouver Art Gallery, Vancouver (2017)
- Why Can’t Minimal, The Rooms, St John’s (2017)
- Tammi Campbell/Leah Rosenberg, College Building Galleries, University of Saskatchewan (2016)
- Out of Line, Oakville Galleries, Oakville (2015)
- Canadian Biennial 2014, National Gallery of Canada (2014)
- Point, Ligne, Plan, Galerie Hugues Charbonneau, Montreal (2013)
- Sincerely Yours, Propeller Centre, Toronto (2012)
- Afterlife, Art Gallery of Regina, Regina (2011)
- Drawing/Drawn, Douglas Udell Gallery, Vancouver (2010)
Further Reading
- Tammi Campbell’s official website
- Tammi Campbell’s Instagram
- Artist profile page from Anat Ebgi
- 2015 article from Border Crossings
- Author Oli Sorenson looks back at his 2012 article The Afterlife’s Painting (2021)
Tammi Campbell FAQs
Is Tammi Campbell’s work an example of Zombie Figuration?
To an extent, Tammi Campbell’s work is an example of Zombie Figuration because it mimics existing art pieces. However, because Campbell is re-examining the work of 20th-century modernists from a feminist perspective, and also adding trompe-l’oeil techniques to her pieces, it could be argued that it stands apart from Zombie Figuration.
What are Tammi Campbell’s influences?
Tammi Campbell views modernist art history through a feminist lens, so is to an extent influenced by the works she so carefully replicates, including pieces by Kenneth Noland, Andy Warhol and Jasper Johns. Her early “masking tape” works reference Frank Stella, while the Dear Agnes series (2010–2017) was a daily ritual in which Campbell drew a different variation of a grid in graphite on Japanese rag paper, writing “Dear Agnes” at the top left and then folding and storing the artwork.
What materials and techniques does Tammi Campbell use?
Tammi Campbell manipulates acrylic paint to mimic other objects in the art and packaging spheres, such as masking tape, bubble wrap and cardboard—she invented the masking tape formula during a workshop in 2009. She also carefully researches the art pieces she is replicating.
Ocula
View Tammi Campbell's Artworks
Explore Tammi Campbell's Exhibitions
Explore and Follow Artists Shaping Contemporary Art
A respected voice in contemporary art discourse.
Focusing on ambitious storytelling and insightful art-world commentary. Ocula Magazine publishes in-depth interviews, critical essays and timely analysis on the artists, exhibitions and ideas driving the global art world.
Learn more about Ocula Magazine
Showcasing the best of the art world.
Ocula partners with galleries from around the world to highlight their artists, artworks and exhibitions. Gallery membership is by application and invitation, with each member vetted by an independent panel.
Learn more about Ocula Membership
Specialises in the sale of major artworks.
Led by a team with deep ties to the world’s leading auction houses, galleries and collectors. Ocula’s advisory team offers bespoke services to high-net-worth clients from around the world who are looking to acquire the best of contemporary and modern art.
Learn more about our team and services