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I am a conceptually driven artist whose practice investigates the human psyche through the lens of technology. My practice extends across digital media and installation. *2018 Emerging Artist Prize, *2018 Armory Award, *2019 Arteles Residency.

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ON EXHIBITION

Kenneth Lambert

Data Blue - Notions of anonymity in the information age.
Galerie pompom, Sydney 17 April - 12 May 2019

Data Blue is the result of a series of intimate filmed interviews conducted by Lambert whilst completing a residency in the icy winter lands of central Finland. The subjects are a collection of writers, academics, artists, and an astronomer who originate from the Antipodes, Africa, Asia, Europe, North and South America. Through a series of technical processes Lambert converts the sound and image from these interviews to data, the final outcome, a series of abstracted video and post photographic works. The work is presented in the manner in which it was captured, in the distinctive Finnish ‘blue moment’, a time just before sunrise and sunset where the world is enveloped in a solemn blue light.

Kenneth Lambert is a conceptually driven artist whose practice investigates the human psyche through the lens of technology. His practice extends across digital media and installation. Lambert approaches his experimental art practice with the deliberation of a scientist and philosopher combined. His intention is to entice the viewer into a state that is self-reflective. Lambert’s work has been recognised with his inclusion in 2018 in the Churchie Emerging Artist Prize, Lismore Portrait Prize, Hidden Sculpture Walk and the Alice Prize. He is also the 2018 recipient of the Newington Armory Award: Artist in Residency and has recently completed 2019 Arteles Artist residency program in Finland.

Soft light, hard data.

The in-between time of the “blue moment” echoes across the snow and ice covered ground. Indirect diffused light tints the sky blue, with fewer than four hours of daylight glimpsed during the depths of winter in Finland. In higher latitudes, this “blue moment” can last hours and is the period that separates day from a deep, never-ending night. Winter months crystalize into these in-between times where residents and visitors incubate indoors while the landscape is frozen in the gloaming.

In our everyday, sunlight reaches Earth's prismatic atmosphere and is scattered directionless by gases and particles in the air. Blue light scatters more than other colours as it travels in shorter, smaller waves - this relative diffusion of shorter wavelengths paints the Finnish winter landscape and Lambert’s nine subjects in an eerie glow.

In Kenneth Lambert’s Data Blue, portraits of his fellow residents are captured by a process of digital cartography. Soft blue light shines onto the subjects, lighting the textural spaces of their face, inviting them to share their desires and secrets while peering into their own psyche through the confessional anonymity of data collection.

These repetitive mapped moments look deep into the personal details of each subject and offer to Lambert and his camera a digital portrait, reflecting the subject back through layers of technology. Here, this digital cartography takes the form of volumetric data, plotted along an invisible axis and swirled into a dot-to-dot puzzle, where the viewers are asked to do their own processing. Data Blue is laced with allusions to data anonymization - by joining the dots, a point cloud emerges to reveal a complex portrait that speaks to the concept of privacy.

Lambert’s captured data portraits represent points plotted on a graph, the in-between allowing the viewer to paint their own picture amongst the visualised hard data. Like the flickering of an image on a cinema screen, these still images and videos are given form only in our mind’s-eye, as our brain is purpose built for filling in the blanks of visual data. Artificial Intelligence processes are only now looking to approximate the human mind’s guess working abilities with Google’s Deep Mind neural network dreaming up digital hallucinatory associations devoid of meaning. There is an unknowing innocence and looming terror around AI’s inability to extrapolate inferences. AI algorithms also supercharge surveillance and threaten our privacy, yet we voluntarily navigate within this new technological context.

These fractalised data portraits, both interpolate and abstract the figure in a similar manner that data in the cloud of the internet tracks us. Our own daily data trail drifts along behind us as we search the internet, painting its own incomplete portrait of each of us into the mirror world of the web. A world of likes, discarded shopping carts, web searches and that millisecond of lingering on a photo - these are all registered by the machine. A machine we have built. The web and the cloud is our own man-machine converter and we, collectively and willingly use it billions of times a day to travel into the internet. Like-wise our GPS wanderings are registered via our aggregate route from home, to school, to work, to the market, to the spot where we pause to contemplate the growth of a root in the sidewalk, or our detour down a side street to catch a glimpse of sunlight striking a particular building before the sun dips below the horizon.

With an immeasurable amount of personal and sensitive data constantly being collected, stored and shared - the notion of anonymity is not guaranteed. Lambert offers these portraits as almost an inverse form of ‘light therapy’, adding insight and accessibly to the complex language of digital data sets. Data Blue investigates the way we peer into deep recesses of the mind and the data structures of the internet, finding intricacies and complexities in our willingness to disclose personal data.

Melissa Burnet Rice

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VIDEOS
Video Art
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ABOUT ME

Kenneth Lambert is a conceptually driven artist whose practice investigates the human psyche through the lens of technology. His practice extends across digital media and installation. Lambert approaches his experimental art practice with the deliberation of a scientist and philosopher combined. His intention is to entice the viewer into a state that is self-reflective. Lambert’s work has been recognised with his inclusion in 2018 in the Churchie Emerging Artist Prize, Lismore Portrait Prize, Hidden Sculpture Walk and the Alice Prize. He is also the 2018 recipient of the Newington Armory Award: Artist in Residency and has recently completed 2019 Arteles Artist residency program in Finland.

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BIOGRAPHY

Kenneth Craig Lambert
Born in 1971, Cape Town, South Africa,
Mixed Heritage: African, Indian & English.
Migrated to Australia 1982.
Lives and works in Sydney, Australia.

EDUCATION
1991 - University of Western Sydney - Bachelor of Arts & Design
(High Distinction)

2001 - 2016
Creative Director & Co-founder @ Ink Project
Brand, design and media specialists, Sydney, Australia
Created over 120 unique brands across 12 countries, 4 continents
100+ international awards

1998 - 2000
Creative Director @ Garner Maclennan Design
Media and Visual effects for film and television, Sydney, Australia
8 international awards

1994 - 1997
Deputy Design Director @ Museum Of Creativity
Core foundation team, Museum Philosophy and Architecture
Santa Monica, Los Angeles, USA

1992 - 1994
Museum Exhibit Designer @ Earth Exchange Museum
Sydney, Australia

TECHNIQUE

Digital Media and Installation.

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EXPERTISE

“Collective consciousness, geometry and procedural generation:
the art of Kenneth Craig Lambert is like nothing you’ve ever seen! ”
Happy magazine. by Laura Kebby

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AWARDS

2018 - Finalist Churchie QUT, Emerging Artist Prize, Brisbane, Australia2018 - Newington Armory Award: Artist in Residence
2018 - Hidden Sculpture walk - Highly Commended
2018 - Finalist Hurford Portrait Prize, Lismore Regional Gallery, Australia
2018 - Finalist 40th Alice Prize, Group Show, Araluen Arts Centre, Alice Springs, Australia

PAST EXHIBITIONS

2018 - Debris - Solo Exhibition, Wellington St. Projects, Chippendale, Australia
2018 - De-Interlaced, Solo Exhibition, Articulate, Liechhardt, Australia
2018 - Materiality, Group Show, Home@735, Redfern, Australia
2018 - Churchie QUT, Emerging Artist Prize, Brisbane, Australia
2018 - Hidden Sculpture Walk - Rookwood *Highly Commended, Western Sydney
2018 - Hurford Portrait Prize, Lismore Regional Gallery, Australia
2018 - 40th Alice Prize, Group Show, Araluen Arts Centre, Alice Springs, Australia
2016 - Primitive Shadows, Solo Exhibition, Stacks Projects, Potts Point , Australia

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