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Lambert constructs her drawings through a labor-intensive process of adding and subtracting materials. Black charcoal and pastel are applied, then partially obscured with collaged paper to reclaim white space. She further alters the surface using chisels, sandpaper, and knives, carving into the paper to reveal underlying layers. The resulting texture is dense and sculptural, emphasizing the physicality of the medium and the persistence of the act of making.

Lambert studied at Leek and Coventry Schools of Art and has exhibited extensively since the 1990s. Since 1999, her work has been represented by the Jill George Gallery in London. Her method has drawn comparisons to Frank Auerbach’s process of reworking surfaces to uncover form. Unlike many contemporary artists, she does not work from live models, relying instead on accumulated photographic references to construct her compositions.

Lambert’s practice emerges within a tradition of figurative drawing that prioritizes material process over realism. Her use of layered, altered paper aligns with postwar European approaches that treat the drawing as an object rather than a representation. The choice of an Egyptian lunar name situates her work within a broader interest in myth and time, contrasting with the immediacy of contemporary image culture.

Lambert’s work contributes to a renewed focus on drawing as a medium of endurance and revision. Her insistence on physical transformation—cutting, scraping, rebuilding—challenges the notion of the drawing as a finished image. By embedding time and labor into the surface, she redefines the figure not as a subject to be captured, but as a presence to be excavated.