Carel Balth (1939-2019) was a visual artist, based in The Netherlands. The main themes in his oeuvre are light, time and space.

In the late 1960s he started with the conceptual abstract Light Objects, made of crystal clear plexiglass, sometimes combined with metal bands. By cutting into the material and then projecting artificial light onto the object, he created special light- and shadow lines and forms on the wall, thus forming a new composition.

He had several exhibitions at the famous avant-garde Galerie Swart in Amsterdam (Ad Dekkers, Lucio Fontana, Fran├žois Morellet).

Continuous research

Balth has since then always been researching new ways of perception, by using new media, abstract photography or video stills, to come to a new form of painting. The materials he worked with varied, from vinyl to Polaroid photography, laser painting, plexiglass and from 2000 onwards video. Always trying to get closer to the essence of seeing. An essential instrument for him was the straight line, that divides and connects at the same time.


From 2000 until his death in 2019 he made what he called Videowatercolors. Using video films of nature or culture, often made close to his own studio, he combined images to create a new digital abstract reality.

Prosperous Career

Over the years Balth has had many solo – and group exhibitions around the world, from The Henry Art Gallery in Seattle (2011) to Het Gemeentemuseum (now Kunstmuseum) in The Hague (2000),  Stedelijk Museum Amsterdam (1974) and Museum Folkwang in Essen (1974, 1986). 

Museum Folkwang,

Essen, Germany

1974, 1986

Stedelijk Museum, Amsterdam, Netherlands


Kunstmuseum (Het Gemeentemuseum),

The Hague, Netherlands


The Henry Art Gallery, Seattle USA


Video Interview

In “The Edge of Vision” Interview Series, Carel Balth explains the process behind his works Moving IV and Madrid V, and how his appropriation of images through a digital format functions as a new medium.

Other Talents

Apart from being a very inspiring person and talented and respected artist, he was an advisor for three major private art collections in the UK and Belgium.