Studio Practice

Wether at her own studio, working in an industrial foundry, making work in a field at night, on a  residency or as part of an international symposium overseas, the site, the culture, and the community conceptually become one material in the melting pot.

Utilizing the foundry as a laboratory to explore the union of concept, process and the nature of various materials, Lambert's work manifests itself through heat ‘n’ treat practices such as mould making, melting, casting and fabrication. Her work responds to molten metal’s transient liquid state, as well as to its weight and permanence; she regards it as a living material as it breathes, oxidizes, and grows, emerging from the mould raw and elemental as if raised from the earth’s depths.

Careening between science and fiction, the real and the fabricated Lambert's studio practice 'speeds up the work of nature'.
Her endeavor is to capture shifts from the ordinary to the extraordinary, oscillating between the tangible and intangible so it can be ultimately experienced in physical space.  For example the sculpture ‘Thunder Cloud’ was inspired by the medieval belief that the sky was made of solid matter, bits of which would occasionally fall off, the sculpture celebrates the phenomena and materiality of something mysterious and magical but ultimately ominous.

Making the work is physically challenging, sometimes awkard and difficult with spontaneous and uncontrollable results which are embraced, explored and grappled with. 'There are moments of what can be called magic, the divine accident, an organic event, a phenomena : I find this way of working full of potential, excited by the unknown, pressure in, out, up, down, pulling, pushing, flying, crashing, bubbles, blow ups, cracks, scars of the process are important. The scars become a metaphor for interaction regarding our existence with the earth.'



A series of photographs that document the burning of the mold interiors : this is part of the process before closing up the mold to receive the molten metal. The form is negative, in essence it has disappeared. There is a moment of anticipation whilst the metal becomes molten. Only once the metal is poured in the mold, cooled and opened do we know if the sculpture has taken form.


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