S O P H I E

L A M B E RT

After 2 years of law studies, Sophie Lambert chanced upon a painting that was on display. She had a keen eye, and her interest and curiosity in the painting carved her way to attend Van der Kelen Brussels, which then led her to work with interior designers and architects in Spain.

Sophie had natural artistic talent. And although her techniques were influenced by other artists, she truly developed her own personal techniques while she was at her Vincennes (Paris) workshop.

Sophie began exhibiting her work in 2006 at The “Salon des Réalités Nouvelles”(Paris). She quickly added “Rendez-vous des jeunes Plasticiens”(Toulon), Gallery Véronique du Verne (Toulon), Gallery Ikastikes Anazitissis (Athens) to her belt. Sophie has done 2 televised shows for Catherine Ceylac in France, received 2 grants from the Foundation Taylor (Paris) in 2012, and exhibited at the Arterrible Fair in Paris in November 2012.

Sophie's signature paintings can be identified by a patchy, colorful palette and the presence of undulating, sinuous lines that are metaphors for imaginary road drawings of improbable landscapes.

Her landscapes are a meeting of a working memory and sensations, the memory with its nodes and absences, while wires tangle or break.

The meeting with a lace maker and the confession of the lace maker's loneliness in her book referred Sophie to the solitude of the painter in the studio. It was then that painted laces arose on Sophie's tables, where she would cover some elements to isolate her subjects from their surroundings or detain them as the lace maker weaves her solitary thoughts.

Sophie wanted to materialize this weaving in her paintings to reveal that the image covered by the fabric of the lace lines is diffused, uncertain, intangible and as distant as a memory.

She has sometimes even sewn directly into the canvas using wire as a medium .

The frame, either painted or sewn is a screen between oneself and the outside, a visual grid through which each individual interprets what he or she watches according to his or her sensitivity and experience.

Teresa Lim, Singapore, 2012