Karin Lambrecht’s entire painting, drawing, engraving, and sculpture output reveals a multifaceted concern with the relationship between art and life in a broad sense: it’s about natural life, cultural life, and inner life. To the researcher Miguel Chaia, Lambrecht’s technical and intellectual processes are interrelated and remain evident in her work to create a “visuality which is spread out across the surface and directed towards exteriority.” Her work is action that blends together body and thought, life and finiteness.
Early on in her career, Lambrecht rethought the canvas and how to paint—she then eliminated the chassis, sewed up the fabric, and used charred patches. The gestural abstraction typical of the 1980s generation, of which she was a part, is a key theme; her works inhabit a space in-between painting and sculpture, converse with arte povera and Joseph Beuys, they are political but also material. The volumes weigh like bodies, the outlines or negations of spaces converse with the scale. From the 1990s onwards, the artist includes organic materials in her paintings, such as earth and blood, what determined a certain chromatic language. In addition to animal blood, her work features crosses and references to the body as recurring elements, indicating different levels of identification between the viewer and her work.
Karin Lambrecht was born in 1957 in Porto Alegre, where she lives and works. She featured in the 18th, 19th, and 25th editions of the Bienal de São Paulo (1985, 1987, and 2002) and in the 5th Mercosul Biennial (2005), all in Brazil. Group shows in the last few years include: O Colecionador de Sonhos, at the Instituto Figueiredo Ferraz, in Ribeirão Preto (2011); Lugares desdobrados, at the Fundação Iberê Camargo, in Porto Alegre (2008); Arte no Brasil 1981–2006, at Itaú Cultural, in São Paulo (2007); and Manobras Radicais, at the Centro Cultural Banco do Brasil, in São Paulo (2006), all in Brazil. Solo shows include: Cores, palavras e cruzes, at Galeria Nara Roesler, in São Paulo (2012); Museu de Arte do Rio Grande do Sul, in Porto Alegre (2002); Projeto Eventos Especiais, at Funarte, Rio de Janeiro (1996); Galeria Camargo Vilaça in São Paulo (1994), all in Brazil. Her work is included in the collections of the Pinacoteca do Estado de São Paulo and Instituto Itaú Cultural, both in São Paulo, Brazil, among others.