At first glance, one might categorize Kenneth Lambert's digital works and his paintings as disparate entities, given their different thrusts. The former is rooted in conceptual narratives, utilizing the precision of technology to depict tales of displacement and history. The latter, on the other hand, thrives on the raw, visceral power of personal experience. However, on closer observation, the threads binding both mediums emerge, and one of the most potent threads is Lambert's exploration of monochrome, particularly his obsession with the colour blue.

Lambert's textural works are a testament to the imperfections of memory. They do not present a clear or precise picture but convey the recollection's hazy, fragmented nature. The granular quality of his chosen materials, like sand, mirrors the granular nature of memory itself – where some details are sharp and clear, while others fade or shift over time. This experience-driven approach serves as a counterpoint to his more conceptually driven digital works, offering viewers a more personal, intimate insight into his psyche.

However, Lambert's paintings' most profound and recurring motif is his use of blue. For Lambert, blue is more than just a hue; it is a vehicle for exploring black identity and his connection to Africa. This colour resonates in the musical legacies of Miles Davis, Thelonious Monk, and John Coltrane – all jazz giants and paragons of black excellence. Their music, imbued with deep emotional cadences and intricate histories, frequently returned to the theme of 'blue', whether explicitly in titles or implicitly in mood.