A critique of the work of sculptor Colin Lambert
by James Reynolds
Colin Lambert is a sculptor living in Sebastopol. Though raised and educated in California, he felt out of step with the art being created here in the ‘70’s and ‘80’s. His search for a more classical approach led him to Europe where he finally found his master, the Dutch sculptor Karlos Gomez. At the conclusion of a three year apprenticeship in Holland, Colin landed his first commission for a public art project in England. This experience launched a successful career in public installations in Europe and in the U.S. from Connecticut to California. Many examples of Colin’s monumental public art may be viewed on his website, ColinLambert.com, along with his more intimate figures.
“I discovered the secret to my success in landing commissions for public spaces, when I met Russell Page (the renowned garden designer). I simply spend time at the site until it starts to speak to me.” It may take hours, days or weeks to begin to hear that voice. This same approach has guided Colin while carving stone. He is convinced that the stone “wants” to go in a specific direction, to manifest its unique essence in form. If he can be open and receptive enough to what lies hidden in the stone, magical things happen under his hands.
I asked Colin what happens when he isn’t working in stone. Do clay and plaster have this same mystical quality? He answers that “The process is similar, but instead of listening to the stone, I ask myself, ‘What do I want to do first, and then what do I want to do next? And so on.’ I just follow a series of internal responses to what happened before.” This may be why Colin doesn’t work with live models. His figures look right without being anatomically exact. It’s a very internal and spiritual process for him.
Sea Star is an example of a piece Colin created out of plaster. It’s a tall, straight figure of a young woman. The first impression is that she is standing quite symmetrically, but one soon detects a subtle lean. Her hair, dress and waist tie are flowing to one side as well. These directional elements reinforce the sense of a gentle breeze blowing.
Her hands are intertwined in a girlish gesture of carefree idleness, while the starfish at her feet places her at the beach. Her dress has a soft plastery texture and is mottled with grey and white, the rest of the figure being plain white. Her face is relaxed and peaceful. The overall impression of this sculpture is a lilting, graceful simplicity.
According to Colin, “Sculpture is at a bit of a disadvantage versus paintings. For sculpture to truly work, the artist has to distill the absolute essence, eliminating all peripheral details in order for the work to stand out.
by James Reynolds
Colin Lambert is a sculptor living in Sebastopol. Though raised and educated in California, he felt out of step with the art being created here in the ‘70’s and ‘80’s. His search for a more classical approach led him to Europe where he finally found his master, the Dutch sculptor Karlos Gomez. At the conclusion of a three year apprenticeship in Holland, Colin landed his first commission for a public art project in England. This experience launched a successful career in public installations in Europe and in the U.S. from Connecticut to California. Many examples of Colin’s monumental public art may be viewed on his website, ColinLambert.com, along with his more intimate figures.
“I discovered the secret to my success in landing commissions for public spaces, when I met Russell Page (the renowned garden designer). I simply spend time at the site until it starts to speak to me.” It may take hours, days or weeks to begin to hear that voice. This same approach has guided Colin while carving stone. He is convinced that the stone “wants” to go in a specific direction, to manifest its unique essence in form. If he can be open and receptive enough to what lies hidden in the stone, magical things happen under his hands.
I asked Colin what happens when he isn’t working in stone. Do clay and plaster have this same mystical quality? He answers that “The process is similar, but instead of listening to the stone, I ask myself, ‘What do I want to do first, and then what do I want to do next? And so on.’ I just follow a series of internal responses to what happened before.” This may be why Colin doesn’t work with live models. His figures look right without being anatomically exact. It’s a very internal and spiritual process for him.
Sea Star is an example of a piece Colin created out of plaster. It’s a tall, straight figure of a young woman. The first impression is that she is standing quite symmetrically, but one soon detects a subtle lean. Her hair, dress and waist tie are flowing to one side as well. These directional elements reinforce the sense of a gentle breeze blowing.
Her hands are intertwined in a girlish gesture of carefree idleness, while the starfish at her feet places her at the beach. Her dress has a soft plastery texture and is mottled with grey and white, the rest of the figure being plain white. Her face is relaxed and peaceful. The overall impression of this sculpture is a lilting, graceful simplicity.
According to Colin, “Sculpture is at a bit of a disadvantage versus paintings. For sculpture to truly work, the artist has to distill the absolute essence, eliminating all peripheral details in order for the work to stand out.
Sea Star,
cast stone, 2011