‘It’s not art about art, but art about how to look at art.’ – Carel Balth

Light Objects (1969–1975)

Plexiglas and light are the main ingredients of the Light Objects. By carefully cutting and restoring the Plexiglas, Balth turned the objects into subtle instruments of light.

Light Object 16 rings 1969
Light Photo Works Transitions Line I 1977

Light Photo Works (1975–1978)

In the Light Photo Works Balth uses photography to reflect on the nature of ‘reality’ in the perception of natural and artificial light.

The New Collages (1979–1982)

In The New Collages, Balth plays with the real and the represented through the use of reflective material, thus putting the idea of collage itself into question.

The New Collage 2 1980
Polaroid Painting About the Reality of Peace 1986

Polaroid Paintings (1982–1986)

Balth created the multifaceted Polaroid Paintings by intervening in the brief developing process of Polaroid photographs and blowing them up to monumental size, treating their snapshot quality as a virtue.

Suite (1977-1991)

Looking back at the Light Photo Works, Balth created Suite. When a sharp, rectangular beam of light is projected into the dark light, poetically abstract shapes reveal our three-dimensional surroundings.

Suite II (Piece 1)
A la Recherche, 1995

Laser Paintings (1986–1995)

For the Laser Paintings, Balth uses the light of a laser scanner to read and encode various surfaces and motifs, which he subsequently manipulates and transposes onto mostly large-scale canvases, creating a new space for the viewer.

Natsune Paper Works (1995–2000)

In the Nastune Paper Works, several layers of traditionally crafted, ultra-thin Japanese paper are turned into floating, flexible objects, that suggestively incorporate motifs from the other series.

Nastune Paper Work, 1996
The Vinyls Sky lines II 1999

The Vinyls (1997–1999)

The Vinyls are driven by a search for the deeper qualities of light and reflection, yet their pliable surface and often contemplative moods simultaneously invoke a Proustian search for lost time.

Videowatercolors (2000–2019)

Each Videowatercolor is composed of ‘video grabs’ that were chosen from millions of possible stills in each video film Balth made for this purpose. He offers a new way of seeing that mentally unites several art forms or art media and leads to a renewed, concrete presentiment of real phenomena; a changed view of reality.

Moving I, 2002