Natalie LN Lambert

5.9.11

I confess - It has been over a year and a half since I lived and breathed art. I had my reasons, but it pained (and pains) me not to have further explored ideas I have only lightly probed since the Glasgow School of Art and a handful of residencies, exhibitions, and Atypical Root.

I am now working at Preloaded games studio as Studio Manager in London, and Im ready to get back to making work.

Watch this space

Publicity: The Skinny Magazine

In the Mackintosh Gallery, three wooden struts have apparently detached themselves from the interior of the building and started levitating in the central stairwell. In fact they form part of a hopelessly relentless machine by the artist Natalie Lambert. A sideways jibe at the heritage industry, the struts ape Mackintosh’s rustic pomposity. Interestingly, although the work directly references the original Charles Rennie Mackintosh interior, it dare not touch those sacred surfaces. Therefore, various clamps and ropes have been utilised to lessen the effect it might have on the priceless interior – a reminder that the spirit of Mackintosh really does haunt this building in the form of reverence and kid-gloved intervention.

http://www.theskinny.co.uk/article/43048-glasgow-school-of-art-degree-show-2008

Natalie Lambert makes moving works of art. So moving, that everyone is an actor in her socio-kinetic installations, which respond to their environment and everyday interactions in space. Her works scheme to participate with its audience, materializing when people are there; without them, it’s nothing.

Perpetual flux, violent participation, space that feels and adapts to your every move marks the essence of her work. Suddenly the viewer is plunged into an interactive environment, changing it instantly. Kinetic art that encourages us to engage our senses and to explore, interact, and discover the art in unexpected and untraditional ways.

One may not immediately be aware of the nature and boundaries of her installations, but often they are waiting to ambush you in an unsuspecting space. The viewer unwittingly creates and destroys the work simultaneously, becoming a participant in a physical and psychological game.

A simple action such as the opening of a door activates a private performance. These willfully unstable and continually open-ended works address the nature of our social texture, blending with the basic flow of human actions. These works aim to highlight social responsibility with a playful and light approach.

Her work is site specific, and installed in transitory spaces, which often sparks interactions between people. It is this relational aspect that appeals to her as much as creating embodied experiences. Recently her work has evolved in a more architectural manner, moving on from single to multiple active elements.

Her installations normally utilize a rough and ready aesthetic, manipulating industrial and found materials. These are used in a gleeful manner, and make the most of their physical properties to create active structures.