'Twelve meters of pure cotton canvas marked by the last gush of blood from a ram, surrounded by twelve drawings on size-A1 paper, with the printed names of the apostles, the entrails and cuts of mutton for domestic use. These objects allude to the fragmentation and dissection of bodies, and the ram to the genealogy of Christ. In a certain sense, it recalls a mural – and, by association, the story of the Last Supper, but transformed into a Resurrection by the indelible mark of blood. Desmembramento (Dismemberment), 2000, with its simultaneously minimalist and grandiose look, seems to exalt both form and subject, although not dissociated from one another.'
Excerpt from a text written by Glória Ferreira

With these works Lambrecht was expressing an interest in traditional methods of slaughtering sheep, methods that have remained unchanged for years. There is an almost eschatological fascination in these works as Lambrecht considers the way that humans separate themselves from animals, the process of death and notions of sacrifice. There is a constant connection to the natural world in Lambrecht’s work and this is reflected in the natural pigments she has used like blood, soil, charcoal or rainwater.