Julie Bénédicte Lambert is a renowned textile artist, specialized in the work of flax-linen.
Based in Montreal, her works are exhibited internationally, notably in the USA, Portugal and France. Graduated in textile arts from the Centre des textiles contemporains de Montréal and in visual arts from Concordia University, she has received numerous awards and scholarships, including the prestigious Prix François Houdé.

The work of Julie Bénédicte Lambert is distinguished by a deep exploration of
flax-linen, a material she particularly loves for its richness and versatility.
The artist’s passion for textiles dates back to her studies at the Centre des textiles contemporains in Montreal and Concordia University, where she developed her technical expertise and artistic sensitivity.

_{Above: ‘La matière du lieu’ (series: Les champs lexicaux) artwork, 2016. Exhibited by the European Textile Network in Austria in 2019.
Technique: Weaving. Materials: Kraft paper and steel, flax rods, flax floss.
*The titles of the pieces these series are taken from the work of Louise Warren, poet and essayist; with the permission of Éditions Le Noroît.
© Bernard Dubois}

In her work, she is dedicated to research and innovation, integrating traditional and contemporary techniques to create works that question and reinvent the uses of flax-linen.
Her experimental approach and her taste for co-creation with artisans and local communities attest to her commitment to push the limits of textiles.

Through her exhibitions and artistic residencies, she shares her vision and expertise, contributing to the evolution of contemporary textile art. The Alliance asked this passionate about flax fibre a few questions.

The Alliance interviewed this artist, who is passionate about flax fibre

What is the definition of your art?

I define myself as a visual artist. I also like the name textile artist.
Very briefly, I would describe my work as follows: it is abstract sculptural works woven by hand. They are made of natural fibres and paper yarn.

My three favourite techniques are weaving, basketry and drawing. These are processes intimately linked to my approach, choosing the crossing of the threads is not a coincidence.

How did you meet this plant fibre that is flax-linen?

My encounter with flax-linen was made through words! It was by researching the parallels between text and textile that I arrived at the lexical field of the word lin.

Indeed, there are many links between weaving and writing, which in turn is related to agriculture...

For example, the back and forth of the wire shuttle to build the fabric is similar to the back and forth of the hand that writes a text, line after line, or the tillage of the earth, row after row.

The word page is thus derived from pagina, which in Latin refers to a cultivated vineyard. Similarly, the word margin comes from the margins dug around cultivated fields to drain water.

These common etymological roots taught me the origin of the word line, which comes from "linen".

How do you approach Linen as a material and in what form do you interpret it?

As I mentioned earlier, linen is everywhere in our common language. Line, linen, shroud, underline... When I weave flanx-linen, these semantic, metaphorical and material aspects come into play and guide the form my works will take: one line at a time.

Your passion for this textile material led you to delve into weaving techniques. How it happened at the beginning?

Before textile, I studied painting and sculpture. I think the trigger for weaving was when I realized that I was painting on canvas, a fabric. That this area deserved my full attention.

The sculptural power of canvas fascinates me and the notion of fold, associated with textile, is central in my approach.
So I became interested in weaving to have control of the material. I had not planned to fall into such a huge and exciting technical field.
I was stung and continued my studies in the field.

How are you developing your expertise today?

In the workshop, I use two looms, one traditional and one computer-assisted. It is the project requirements that dictate my choice of one or the other.

But in both cases, the weaving is done by hand. I like very much the very technical and methodical aspect of the weaving. I find great freedom in coercion.

Limits become a source of creativity, it is a way of creating that suits me particularly. Close to drawing.

This does not mean that I do not occasionally work with automated trades, which have other qualities. They are simply very difficult to access in Quebec.

_{Above: ‘Collection of samples : The canvas. Page 1’ artwork, 2019.
Technique: Weaving. Materials: Mercerised cotton, paper, linen
© Marion Desjardins}

Do you want to open minds to contemporary creation? If not, do you cultivate another goal and what is it?

In parallel with my practice as an artist, I am a lecturer at the Centre de textiles contemporains in Montreal.

This is a three-year design program. I teach weaving and thematic/aesthetic research to first and second year students. What contemporary creation necessarily enters my references in class! In this way I raise awareness of this type of creation among a number of people.

Moreover, I like the permeability between contemporary art, arts and design. You can’t be a specialist in everything, but being well informed about creations in several disciplines is a real advantage to be able to appreciate a work and create one!
The boundaries between disciplines are blurred. My work can be moved from one category to another. But there is indeed a lot of education to be done to raise awareness in the general public.

In addition to teaching, I regularly participate in various mediation activities with visitors in the context of gallery exhibitions.
These may include round tables, workshops and conferences. Every opportunity is good to share my passion with a large audience.

Linen, a fibre weaving history and innovation in fashion