PHIL LAMBERT
  • Home
  • Portfolio
    • Soil Photography
    • Dirt and the Domestic
    • Emergence
    • Charcoal / Nocturne series 2019
    • Rewilding Turf studies 2019
    • Blackboard Series
  • Workshops
    • WCSS22
    • ARTICULTURE and Art CENA
    • Soil Security Programme Conference 2019
    • Heolddu, Prince's trust and ESCRI project 2014
  • Commissions
    • Tyler Mural
    • Claudia Bunk Bed Mural
    • Soil Security Programme Conference 2019
    • Ysgol Pencae Welsh Children’s Characters mural 2018
    • Ysgol Pencae Mural 2018
  • Consultancy
  • Perception pieces
  • Evolution and Chance
  • Archive
    • Whitehead Bricks
    • Physiognomy Projects
    • The Luscher Series
    • Unnatural Selection Projects
    • Dotty Illusion Motif
    • Anblickspiel
    • Bill Taylors Brain
    • Every Witch Way
    • Studio work 2013-2014
    • Observational Works 2005 -
    • Miscellaneous
  • Contact
  • Links
  • Home
  • Portfolio
    • Soil Photography
    • Dirt and the Domestic
    • Emergence
    • Charcoal / Nocturne series 2019
    • Rewilding Turf studies 2019
    • Blackboard Series
  • Workshops
    • WCSS22
    • ARTICULTURE and Art CENA
    • Soil Security Programme Conference 2019
    • Heolddu, Prince's trust and ESCRI project 2014
  • Commissions
    • Tyler Mural
    • Claudia Bunk Bed Mural
    • Soil Security Programme Conference 2019
    • Ysgol Pencae Welsh Children’s Characters mural 2018
    • Ysgol Pencae Mural 2018
  • Consultancy
  • Perception pieces
  • Evolution and Chance
  • Archive
    • Whitehead Bricks
    • Physiognomy Projects
    • The Luscher Series
    • Unnatural Selection Projects
    • Dotty Illusion Motif
    • Anblickspiel
    • Bill Taylors Brain
    • Every Witch Way
    • Studio work 2013-2014
    • Observational Works 2005 -
    • Miscellaneous
  • Contact
  • Links
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YOUR CART

Dirt and the domestic

In 2017, I re-imagined my arts practice to engage more deeply with materials.
Making work had became quite a negative experience and I was questioning what the role of an artist was and what function my work had. Why make work if it often sat in an attic unseen? How could I justify the time and costs of my practice if it was not contributing anything to me or my family?
So, I started again. I questioned everything. Why paint? What do I paint with and on? What is representation? Who is it for? This new beginning started with my immediate surroundings - a house brick and its origins. This then led to the soil itself

The practice shrank to be something that was self sustainable. The paint came from my garden the subject matters were all close to home and immediate. The paintings are characterised by a measured observational approach of the domestic rhythms of a family house.. They often have a feeling of time passing

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