Delaney is a queer visual artist and designer who specializes in concept creation and production design. She is a recent graduate from the University of Victoria’s Theatre Design Program, earning a BFA with distinction, and participated in the Banff Centre for Arts and Creativity's "Designing for Dance" program in July 2017. Although traditionally trained in design and stage management, her practice is currently focusing on merging her visual arts background into performance design. In the last year she has successfully produced two live installation works, open face beholding, and songs about love, both of which focus on micro-performance, audience engagement, and exploring liminal space. Originally produced for Intrepid Theatre’s YOUshow Series in January of 2018, open face beholding is scheduled for a remount in March 2019. Songs about love was recently hosted at Impulse Theatre’s PEEK-FEST 2018, a new festival for emerging and developing works in Victoria BC. She is currently working on a piece called floriography.exe, a performance experience that combines generative artificial intelligence, communication, and the Victorian flower language, of which an excerpt was featured at Impulse Theatre's PEEK-SHOW in April 2018.
Delaney currently lives in Victoria, BC on unceded Lekwungan territory, and is designer-in-residence at the local indie theatre company, Vino Buono, that specializes in producing contemporary works by emerging artists, with a focus on underrepresented creators and content. She is one of the founding members.

Recent design credits include 7eventy 7even (Theatre SKAM, 2019), The Fitting Room (Collectivus Theatre, 2018), which won Bravest Show and Pick of the Fringe at the Victoria Fringe Festival 2018, and Drops in a Broken Fountain (Geodesic Theatre, 2018), which won the 2018 Best New Play Award at the Winnipeg Fringe Festival. Other select credits include production design for Daddy Issues and Blind Portrait (2017), both produced by Vino Buono Productions and O, Come All Ye Faithful (Bragi Theatre, 2017).





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