Alison Lambert was born in England in 1957. She studied at Leek and Coventry Schools of Art, graduating in 1984 with a BA (Hons) in Fine Art. Since graduating she has established an international reputation as one of the foremost British artists working with the human figure.
Her work is in a number of private collections in the UK, Europe, USA, Canada and Australia. Public collections include the British Museum (Department of Prints and Drawings); Victoria and Albert Museum; Minneapolis Institute of Art, USA.
During the early part of her career she produced paintings and drawings of animal and human forms which evoked a strange world of mystery and ritual. Many of the early works were influenced by classical literature and early Greek statuary. Later works were influenced by medieval religious imagery and iconography. These sources gave her work a profound sense of inwardness and a feeling for subjective states associated with belief and inner emotion. Her imagery had moved away from the earlier cool classical forms towards a greater realism and concern for the sense of the subjective individual.
Over recent years, Lambert has continued to produce work with a greater sense of realism. This development has permitted a deeper exploration of the subjective states of her characters. Recent works continue this intense examination of the isolated human head with the addition of background landscape forms. She has also been working again with the full-length figure in large-scale drawings. The background landscape features provide elements of location and a sense of mystery, harking back to her earlier work. Always present is the intense physicality of the drawings along with the torn and fragmented surfaces, which have continued to be a defining feature and a metaphor for the sense of deep emotion and a critical distancing of the viewer.
In 2007 she established a print workshop at her studio and, working with Pratt Contemporary, she has created a series of heads and more recently landscapes using a monotype technique that allows the direct physicality and spontaneity that is characteristic of her drawings.
Alan Dyer, 2018.