I’m Sarah-Lambert Cook, an artist and storyteller exploring the intersections of land, memory, and narrative.
I think of storytelling as a kind of stewardship — a way of tending to the connections between people, places, and the more-than-human world. My work, both visual and written, focuses on how humans are shaped by the landscapes in which we’re embedded. I aim to shift the frame: to see land not as the backdrop for human experience, but as a vital, responsive presence in its own right.
Much of what I make begins with quiet observation. I’m interested in how cultural memory, environmental systems, and myth converge — and how stories linger in place long after we’ve gone.
This site is a portfolio of ongoing series and slow inquiries into the relational life of forests, the ancient impulse to mark, and the long memory held in matter.
Sarah-Lambert
Forest Conversations
Forest Conversations is an ongoing body of visual and narrative work exploring rewilding as both ecological entanglement and a shift in internal orientation.
These pieces emerge from a long listening practice — attuning to the quiet forms of intelligence in forests, fungi, birds, decay, light, moss. The forest is not scenery here. It is a mind. A teacher. A collaborator.
I’m not only rewilding my own perception, but learning to recognize the wild in everything and everyone around me. To treat landscape as a kindred storyteller — and to become a better listener.
Ancient Conversations
Ancient Conversations explores art as ancestral language — the earliest marks we made to name memory, presence, awe.
This series draws on childhood memories of museums, canyon ladders, and backyard excavations, threading forward through my study of anthropology and continued visual practice. Each piece traces an echo between early human image-making and contemporary storytelling: handprint to brushstroke, ochre to ink.
I don’t treat the ancient past as a remote origin, but as an active presence — flickering just beneath the surface of our relationship with place. What did it mean to speak through pigment on cave walls? What does it mean now?
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