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Bio | Statement | Press

(* Indicates one-person exhibition)

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•  The Museum of Modern Art, New York, New York, The Grace Mayer Collection
  
  
• The Museum of Fine Arts, Houston, Texas, The Allan Chasanoff Collection
  
  
• UNICEF Collection, New York, New York (UN)
  
  
• Polaroid Collection, Cambridge, Massachusetts
  
  
• American Artists Group Collection, New York, New York
  
  
• The Stamford Museum, Stamford, Connecticut
  
  
• Bergen Museum of Arts and Sciences, Bergen, New Jersey
  
  
• The High School of Music and Art, New York, New York
  
  
• The Albany Institute of Arts and Sciences, Albany, New York
  
  
• Bowdoin College Museum of Art, Brunswick, Maine
  
  
• Atlantic Filmworks Permanent Collection, Hamden, Connecticut
  
  
• HOMA Pump Technology, Inc. Ansonia, Connecticut

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• Asahi Camera. pages 52-53, reproductions from portfolio, Beyond Impression. Mega Press Agency, November 1983
  
  
• Bemis, Mary et. al.  Nature through Her Eyes, Art and Literature by Women.  The Nature Company  1994
  
  
• Aston, Dore. Patricia Lambert, Other Images. catalog text, Morgen and Morgen Publishers, Dobbs Ferry, New York 1988
  
  
• Bostonia. pages 37-41, High Mowing.  poetry, Roger Shattuck; photography, Patricia Lambert,  July/August 1990
  
  
• Canavor, Natalie.  Shows We’ve Seen.  Popular Photography,  Volume 90, Number 9, September  1983
  
  
• Connecticut Spotlight.  On People, Patricia Lambert. January 1990
  
  
• Kuopus, Clinton.  Tools and Ancestors Patricia Lambert. catalog text  1994
  
  
• Lambert, Patricia.  Controlling Color.  McGraw-Hill (Design Press) New York,  New York  1991
  
  
• Lambert, Patricia  et. al.  Color and Fiber. Schiffer Publishing Ltd.  West Chester,  Pennsylvania 1986
  
  
• Lambert, Patricia.  Creating  Space with Value. Needle Arts Magazine, Vol. IX, Number 2 1978
  
  
• Lambert, Patricia.  Looking at Color. Installation, Memorial Art Gallery, Rochester Museum, Rochester, New York 1996
  
  
• Shattuck, Roger.  Looking at Silent Power Patricia Lambert. catalog text 1994 

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• Couturier Galerie, Los Angeles, California
  
  
• Ledel Gallery, New York, New York
  
  
• The Gallery at Atlantic Filmworks, Hamden, Connecticut
  
  
• Labriola Gallery, Stamford, Connecticut (current)
  
  
• Fenn Gallery, Woodbury, Connecticut (current)

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Education 

Graduate Work:

• Fairfield University, Certificate in Video Production.  Fairfield, Connecticut.
  
  
• Pratt Institute, New York, New York, work towards MFA.
  
  
• International Center for Photography, New York, New York (studies with Lee Bolton and Robert Sisson).
  
  
• Photographic workshop, New Canaan, CT (studies with Ruth Bernhard, Lotti Jacobi, Barbara Morgan and George Tice).
  
  
• Columbia School of Painting and Sculpture, New York, New York (studies with George Picken and Ralph Mayer).
  
  
• Art Students’ League, New York, New York (studies with Robert Beverly Hale and Will Barnet).
  
  
• National Academy of Design, Mural Workshop, New York, New York (studies with Dean Cornwell).
  
  
• Juilliard School Theater Department, lighting and Scene Painting and Design, New York, New York.

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Artist's Statement

I am concerned with keeping simplicity of design and composition in my images no matter how complicated they may appear at first glance. The use of light in describing form and texture is of paramount importance to me. To further clarify the space, or format, within which I work I incorporate more formal aspects of design.

Although the work is realistic I break up space abstractly before thinking of the actual impact of the subject matter. For me, this cuts through the visual, emotional and psychological chaos filling our world and clarifies the image. It reveals the heart of the subject. As a student studying the works of Andrew Wyeth, I remember realizing that if I were to remove all recognizable objects from one of his images, the result was always a beautiful and very readable abstract.

The group of images in the portfolio called Tools makes another statement too, not only about the design of the subject, but also about people who spend their lives working with tools and machinery. As Roger Shattuck, critic and essayist, says in a catalog commentary referring to these images: “Someone was here, just a moment ago, watching and working". The subject, the design and the connection between past and present are central to these images. Viewers are drawn to them because they are familiar or they enter them in a spiritual way creating an historical link.

Among the artists who have predominantly influenced my thinking are Georgia O’Keeffe and Alfred Stieglitz. Both sought pleasing and complete abstraction to express their worlds. Although Stieglitz was a consummate photographer of his time, he also sought a spiritual metaphor in his Equivalents, which to me have always seemed more painterly than photographic, combining the best of both disciplines.

Painters influencing my work include Georges de la Tour, Rembrandt and Vermeer. Photographers whose work I deeply admire include Edward Weston, Ruth Bernhard, Berenice Abbott and Margaret Bourke-White.

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Press Release

FOR IMMEDIATE RELEASE
For more information contact Pamela Siemon: 203 263-3449

TOOLS AND ANCESTORS THE FOCUS OF PHOTOGRAPHY EXHIBIT

Woodbury - Fenn Gallery opens its next show Thursday, May 12th, with “Portfolios in Progress”, a solo exhibition of black & white photography by Patricia Lambert. The show runs through Sunday, June 19, 2005. The public is invited to meet Patricia Lambert at the Opening Reception, Saturday May 14th from 3-6 pm.

This exhibit includes work from four portfolios; Tools, Metal Abstracts, Trees and Plants. An exceptionally talented contemporary photographer and faculty member at Parsons School of Design, Lambert‘s work is more painterly than photographic. Simplicity of design and the dramatic use of light and contrast to describe form and texture are hallmarks of her work. The Tools and Metal Abstract images are of the machines and implements first used in our industrial age that Lambert discovered in New England machine shops and tool barns.

Lambert artfully captures the signs of wear resulting from many years of use and the visible markings on these tools, a connection to the manufacturers who made the objects, and the craftsmen and women who operated them. The tools in Lambert’s images are not arranged; but are instead captured as they were last used or as a worker had hastily thrown them. As Roger Shattuck, noted critic and essayist, refers to these images: “Someone was here, just a moment ago, watching and working...there is nothing cold or inhuman or remote about the images.”

The same visual language is evident in the Trees and Plants Portfolios. The finely balanced cropped compositions, whether of a fern frond, blade of grass, or gnarled tree trunk, can be equally viewed as a celebration of nature or as a very beautiful and readable abstract. Either way, the spiritual metaphor in her work on nature is unmistakable.

Selected collectors of Lambert’s work include The Museum of Modern Art, New York, NY, The Museum of Fine Arts, Houston, TX, and the Bergen Museum of Art, Bergen, NJ. Lambert’s work may be viewed at www.fenngallery.com.