Posts Tagged ‘clary’

Posted: September 28th, 2017
Categories: light, refelection, studio, white
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clary stolte text

clary stolte text

My work can be best described as ‘object research painting projects’.
Which means a precise research of material properties and behaviour that leads to minimal,
but at the same time extreme interventions. I use both traditional artistic materials
(paint, mediums) and industrial or ephemeral materials (plastic, acrylic polymer
emulsions, epoxy, resin, was, soap, sugar, hair gel, shampoo) drawn from everyday
domestic and commercial worlds in the making of my paintings, drawings and installations.
I am interested in the dialogue between the space and my work. The painting in the space
leads to questions such as: how does a painting relate to the wall, the room, the architecture?
Most of all I want to communicate the fun and play involved in making my work.
Clary Stolte / 2017

clary stolte text

clary stolte text

clary stolte text

clary stolte text

Posted: February 14th, 2017
Categories: content, message, the function of the studio
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Posted: January 10th, 2017
Categories: TAPE, material, plastic, studio
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2016 / interview F.A.L.L. Magazine (NL)

read by Sanne van Rij

2016 / H ART #154, HART Magazine (BE) by Grete Simkuté

Posted: September 8th, 2016
Categories: UNFINISHED, content, material, message, shows, white
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outside installation view
nivea creme on window
spaceburo, antwerp
Posted: July 6th, 2016
Categories: UNFINISHED, material, shows, white
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6 o
6 o 
6 o  x  8 0 

6 o  x  8 0 6 o  x  8 0 

6 o  x     working with W

Posted: April 15th, 2016
Categories: material, message, publish
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l’annunciazione del bianco (de aankondiging van het wit)  marble stones, carrara, italy

Posted: December 3rd, 2015
Categories: registration, white
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Posted: September 1st, 2015
Categories: material, studio, the function of the studio
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Posted: June 18th, 2015
Categories: UNFINISHED, material
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Posted: February 14th, 2015
Categories: material, studio
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szymanowski sszymanowski

szymanowski szymanow 

Posted: January 22nd, 2015
Categories: studio, the function of the studio
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Galerie Van der Mieden, Brussels 

dr. Oetker gelatin on canvas (20x20cm) studio installation 2014

on view at ‘You Have No Idea’  @ 6b Gallery (BE)

plastic geheugen (plastic memory explained)

Plastic Geheugen- Plastic Memory / past exhibitions (2003) with paintings by Clary Stolte and sound-installations
by Radboud Mens at Nieuwe Vide Haarlem, the Netherlands  and at De Verschijning Tilburg, the Netherlands

garbage bag on canvas – 24 x 24 cm (2014)

Posted: April 3rd, 2014
Categories: UNFINISHED, plastic, studio
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Methylhydroxyethylcellulose / MHEC


Ethylacetaat / azijnzuur, alcohol

Plextol B / waterige dispersie van een thermoplastiche acrylpolymeer op basis van ethylacetaat en methylmethacrylaat

Polyvinylacetaathars / bindmiddel, oplosbaar in ethanol, tolueen en exeton. Viscositeit 4 tot 7m Pa/s

Kaliumsilicaat, Natriumsilicaat / waterglas

Polyvinylchloride / PVC

Polystyreen / PS

Polyurethaan / PUR

Polytetrafluoretheen / TEFLON

Polyetheentereftalaat / PET

Polymerisatie / het aaneenrijgen van kleine moleculen  (monomeren)  tot zeer grote moleculen

Thermoharder / een kunststof die onder druk en warmte slechts eenmaoig in een bepaade vorm gebracht kan worden

Thermoplast / een kunststof die herhaaldelijk on der druk en warmte vervormd kan worden

Modificeren / veranderen, omzetten een chemische reactie

Hydrolyse / splitsing van een verbinding d.m.v. water

Macromoleculair / Macromoleculaire materialen ( polymeren) zijn stoffen die zijn opgebouwd uit macromoleculen (zeer grote moleculen) die weer zijn samengesteld uit kleinere moleculen (monomeren). Zeer groot betekent dat de moleculen van deze materialen 100 keer zo groot zijn als de moleculen van stoffen zoals water of keukenzout

Nivea Hair Care / Aqua, Sodium Laureth Sulfate, Cocamidopropyl, Betaine, PEG3, Distearate, Polyquatemium 10, Yucca Filamentosa, Paenonia, Officinalis, Niacinamide, Peg40 Hydrogenated, Castor Oil, Propylene Glycol, Otric Acid, Sodiym chloride, Sodium Benzoate, Parfum

Fructies shampoo / Water, Sodium Laureth Sulfate, Dimethicone, Cocamidopropyl Betain, Cocamide MIPA, Distearyl Ether, Sodium Chloride, Behenyl Alcohol, Laureth-2, PPG-5-Ceteth-20, Pyrus Malus (Apple) Fruit Extract, Fragrance, Sodium Methylparaben, Carbomer, DMDM Hydantoin, Niacinamide, Pyridoxine HCl, Guar Hydroxypropyltrimonium Chloride, Citric Acid, Saccharum Officinarum (Sugar Cane) Extract, Citrus Medica Limonum (Lemon) Peel Extract, Camellia Sinensis Leaf Extract

Elvive 2 in 1 – L’Oréal (2012)/ Aqua-Water, Sodium Laureth Sulfate, Dimethicone, Coco-Betaine, Cetyl Alcohol, Cocamide Mipa, Hydroxystearyl Cetyl Ether, Sodium Chloride, Niacinamide, Guar Hydroxypropyltrimonium Chloride, Tocopheryl Acetate, Sodium Methylparaben, Dmdm Hydantoin, Phenoxyethanol, Ppg-5-Ceteth-20, Magnesium Gluconate, Ethylparaben, Limonene, Panthenol, Benzyl Benzoate, Linalool, Benzyl Salicylate, Propylene Glycol, Propylparaben, Isobutylparaben, Carbomer, Citronellol, Butylphenyl Methylpropional, Methylparaben, Butylparaben, Hexyl Cinnamal, Parfum-Fragrance

Bubblicious – Bubblegum – Strawberry Splash (2012) / Suiker; Glucosestroop; Gom; Stabilisator: E422; Aroma’s; Voedingszuren: E296; E330; Emulgator: Soja Lecithine; Plantaardige Olie; Kleurstof: E129; Antioxydant: E321.

Katoen / Linea Pura: mako katoen, taglia

used 02 (2013) used canvas removed from frame pinned to wall 44x44cm

on view at ‘the logic of things’ @ galerie c. de vos, Aalst (BE)


liquid in plastic bag  (2013) studio views

left on table – acrylic paint and water in plastic bag
right on table - dish soap and water in plastic bag

aquarel paint and water in plastic bag on floor

aquarel paint and water in plastic bag on floor – Vishal, Haarlem, the Netherlands

Posted: September 5th, 2013
Categories: drawing, liquid, material, plastic, studio
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study for antwerp

study for antwerp #12 @ factor 44,  antwerp –  March 2013

overview with hair gel

overview with studio views 2005 – 20011/30 sec. tracks / compilation 20 min. avi


PRECISE OPERATIONS – Factor 44, Antwerp

‘Study for Antwerp # 12 – from the series Studies for Antwerp


001325 READY MADE / MULTIPLE # 4 (2013) acrylic paint and plastic on cotton 100x100cm

Two elements on table

00827 White volumesurface 4 #1 (2008) folded paper 24x24cm

2013  Publishing: ‘clary stolte works and projects 2005-2013’ book A5, 48 pages

Wall (side by table):

001332 White frame (2013) cotton and frame 30x30cm

001327 READY MADE / MULTIPLE # 5 (2013) plastic lath, signed and numbered on backside

One white plate

Floor (side by table):

2 x studies for flat volumesurface 9 (prototype) 40×40

001322 Transparencydensity 3 # 6 (2013) wrapping foil on canvas 30x30cm

Floor (side by fire place):

2 boxes

2013 Publishing: ‘clary stolte studio views’ (2013) flyer A3 – 2 sided

2013 Publishing: ‘clary stolte studio views 2009-2013’ book A4, 24 pages, edition 100

Floor (side by door left to right):

001324 READY MADE / MULTIPLE # 6 (2013) sealed canvas, 90x90cm, signed and numbered on backside

001321 READY MADE / MULTIPLE # 9 (2013) ready made sealed canvas, 40x50cm, signed and numbered on backside

001320 READY MADE # 6a – 1/21(2013) sealed Chinese ready made canvas board, signed and number on backside, edition 22

001336 Substance 1 #3 (2013) one lt. hair gel on plastic 40x40cm

One white plate

Floor (round the corner)

001335 Studio views 2005 – 20011 / 30 sec. tracks / compilation 20 min.

Wall (backroom)

001334 Chewing gum on wall (2013) buble gum on wall

Patio (outside)

001320 READY MADE # 6a – 22 (2013) sealed Chinese ready made canvas board, signed and number on backside, edition 22

works and projects

clary stolte works and projects

book A5  / 48 pages

published with support of Prins Bernhard Culture Foundation, Tijl Fund

book launch at Art Rotterdam 2013

image: visitor at the opening of Art Rotterdam

model 005/fos

The series  OPPERVLAKTES (surfaces / from 2005) consists of  8 paintings on which I apply thin layers of acrylic paint since 2005. Each painting started on a different time making it one work thicker and heavier than the other work. In 2007 the series were exhibited in the exhibition CONCRETE ZAKEN, Nieuwe Vide, Haarlem, the Netherlands, a group show curated by Jan Maarten Voskuil. The text below about the series OPPERVLAKTES, is written by Jan Maarten Voskuil for the catalog of this show. In the exhibition SLOW FREEZE, GEMAK, The  Hague,  the series will be exhibited again. This time presented on a table,  as part of the installation ‘Model 005/the function of the studio’ – SLOW FREEZE,  January 18 – March 2, 2013,  GEMAK, The Hague. Clary Stolte / 2013

OPPERVLAKTES – So lets take a piece of art serious and enter it openly. Let’s begin with what represents the most basic identity of painting: A white monochrome. For decades white paintings regularly appear in exhibitions. As an example, we do not take one but a series of paintings entitled Oppervlaktes (Surfaces). Usually a white painting is interpreted as a reference to the beginning and the end of art. But we can also look at a white painting as an independent work and not as a conceptual comment on painting. What are the intrinsic qualities of the work and do they exist? When we think of artists immediately the name Robert Ryman appears but Ryman has a very personal handwriting which is not the idea of concrete painting we would like to discuss. More concretely the zero artists of the sixties are confronting us with monochrome white painting. They use not only the conceptual meaning of white (zero), but they also use its intrinsic quality. White reflects all colours and mirrors the light to its full extent. In the series Oppervlaktes the entry of light is surely one of the qualities of the work. Here it is about identical bright white canvases. When you study this further you can see the canvases are not entirely identical. Close inspection betrays a minimal difference in the structure of the surface and gloss between the works. However smooth the works have been painted, a brush visibly has been used. Along the edges minimal differences are visible especially when you lift the painting (unfortunately this usually is not allowed at exhibitions), then you feel the real difference. One canvas is much heavier than the other. The weight is because of the amount of paint used, not because of the stretcher or the canvas. One painting can contain 10s of 100s of layers of paint while another work very few. Once you have the canvas in your hand, it is impossible to see the works as equal anymore. The works gain identity by touching them, holding them or studying them. You could say something becomes something when it is noticed. In the series Oppervlaktes, the meanings are about subtle differences in weight structure and luminosity because many layers over a long period of time have been applied to the painting. The consistency and dedication of the artist plays an important role in the background. Even when you do not know who made it. The fact that someone made this effort indicates that natural forces were at work. Jan Maarten Voskuil, catalog Concrete Zaken / 2007

white book

WHITE BOOK - fingerprints collecting book part of the series WHITE DOCUMENTS

- start collecting fingerprints by holding the book -

001245 / book A5 / 12 empty pages / 3 x A4 – 1 fold line – ivory cardboard / signed and numbered on backside

© clary stolte 2012 - book launch follows

Posted: December 12th, 2012
Categories: UNFINISHED, white documents
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dust collecting postcard

Part of the series Dust Collecting Surfaces / remove grid layer to start collecting dust

001244-01 Adhesive foil 10 x 15 cm © clary stolte 2012

Secret Postcards: November 17-25 @ The Jan van Eyck Academie, the Netherlands

dust collecting surface

dust collecting surface – dcs – udderointment on paper