Status Quo

(...) a horde of glossified doors – titled after prototypical dad rockers Status Quo – conjoined at contorted angles, pose in confusing seduction somewhere between Richard Serra and a stoners’ squat, equally monumental and squalid.

It’s Lambie’s approach to making that gives his work its edginess. His sculpture’s high-polished ambitions are short-circuited from the start, establishing their own compositional economy. Their end game isn’t flawless beauty but its approximation; his readymade materials have no pretence to being anything other than what they are. Through Lambie’s negotiation, the common and neglected become re-valued as colour, form, mass and texture, precisely balanced and poised in new relational, fetishized structures. Re-fab is the spend-thrift’s authenticity, as his objects are given makeovers with sticky-back plastic and hangover sparkle, elevated to the plateau of haute couture.

Excerpted from Patricia Ellis, "Glasgow Pomo,", in: TBA21 Collection Book