Using minimal tools like a hand sharpened twig, permanent ink, liquid watercolor, a few brushes and a spray bottle, Lambert creates expressive, non-representational images that appear in a time and space open to interpretation. Drawing from live models, the artists process is spontaneous and intuitive, with lines crossing the paper in swoops and swirls while color obscures or emphasizes with emotion. Blending strong intention and a studied lack-of-control, usually only parts of a figure appear, mixing, colliding or overlapping, sometimes distinct, sometimes melting or morphing together. There is a direct relationship between the transforming image on the page and the moving person with whom the artist is working. There is no substitute; drawing the figure from a photograph is dead for this artist. A mentor at Arizona State University, Arthur Hahn, taught artistic anatomy based on detailed structural knowledge gained from dissecting a cadaver. This grounding in static detail of human form is now transformed by motion and ambiguous intent in Lamberts images. While drawing was the emphasis of her BFA magna cum laude, fiber art was another passion. Weaving is in the overlapping shapes and intertwined lines that hold together the images. Veiled color immerses the figures and softens the woven lines to infuse movement, suggestion and uncertainty, while hinting at inherent human qualities, feelings and situations.