Bridget Sue Lambert explores how personal interior space and voyeurism interact. She creates tableaus simulating the emotional and physical clutter surrounding romantic relationships and a woman’s relationship with herself, and distorts a sense of scale by working entirely in dollhouse miniatures. She imagines, and meticulously constructs, vignettes that manipulate the sense of time and space, and allows secret/cinematographic moments to unfold while suggesting a living narrative. Selected objects, sparse rooms and atmosphere echo desire, fear, destruction, hope, love, faith, anticipation and expectation. Lambert creates scenes in which viewers can draw their own conclusions and examine and explore their own experiences. She wants to emphasize and give meaning to situations women and men find themselves in and how our physical space visually reflects and reveals our inner fears and hopes. 

For her series, Seal the Deal, Lambert arranged and photographed a rusted modernist dollhouse; created an interactive, magnetic wall installation; and a seal totem sculpture. She mixed imagery of decay and abandonment with images of hope and inspiration, she shared ideas of empowerment and, through the help of the seal totem she seeks the balance among the unavoidable clashes along the path. Each object, and its placement is significant to the overall body of work and the image itself. Just one decoration among a vast collection of trinkets, one single object has the power to beautify the whole room. Strange objects reveal character and background—seeing one’s natural habitat, surrounded by the things that matter the most to them give important, crucial clues to the real person. Using old and shiny new miniature objects, like a bright orange Adirondack chair next to a tiny margarita wait for someone to take a seat and view a picture on the wall of a figure reclining on the beach placed just above the rust creeping up the wall, Lambert suggests the inescapable nature of time, age, and neglect. She suggests hope through decay, and the possibility of beauty and repair through reflection and help from sacred sources.

The large circus dollhouse bedroom print, Emergence of Your Conscious Life in is an interactive installation that allows the viewer to pick out magnetic dollhouse objects and place them in various stages of order and disorder onto the wall mural. Viewers choose objects that relate to them, each creating a unique story and participating in individual acts of creation.

The seal totem, urges its chosen people to learn lessons that will help them to better navigate both the inner and outer worlds; to go with the flow rather than be drowned by it. Native Americans believed that animal guides visit us at different times in our lives; for her, the seal arrived to share important messages of challenge and encouragement, toward a process of individuation.

Lambert’s work has been exhibited publicly as part of the Dream Rooms exhibition at the National Building Museum, Washington, DC; DC ARTWALK and Public Garden, Washington, DC; the Open Sky Project in Rosslyn, Virginia; and ART ON THE ART BUS, Virginia. She is a three-time recipient of the DC Artist Fellowship Grant (2007, 2017, 2018) and received a 2004 Maryland State Arts Council Works on Paper grant. Her work is in private and public collections including the Jane Voorhees Zimmerli Art Museum Collection, the Wilson Building Art Collection, and the DC Commission on the Arts and Humanities Art Bank. Lambert lives in Washington, DC and is represented by Civilian Art Projects in Washington, DC.

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