Nina Stoelting

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Nina Stoelting (* 1966 in Wiesbaden ) is a German artist .

Life

After graduating from high school, she first studied architecture at the Technical University of Darmstadt and the Escuela Tecnica Superior de Arquitectura in Barcelona , finally until 1993. After working in renowned architecture firms with a focus on competitions, she decided to do a doctorate in art history, which she completed in Darmstadt in 1998 . Nina Stoelting did a master’s degree from 1995 to 1997 in Salzburg as part of the European Executive Program for the Arts and Media (University of Linz).

Even during this extensive academic training, she worked intensively in the artistic field and since 1997 has regularly participated in numerous solo and group exhibitions at home and abroad.

Nina Stoelting's approach to art is characterized by an interdisciplinary interest. Until 2004 she ran a theater with the artist Gábor Török in Frankfurt, curated numerous exhibitions and taught painting at the Schwalenberg Summer Academy.

Supplemented by extended artist-in-residence stays, she lives and works as a freelance artist in Wiesbaden.

plant

Structure is central to Nina Stoelting's work. Nature and history, often in combination, form the conceptual basis of her works, which are usually carried out in large cycles, and determine the choice of motifs.

"Nina Stoelting's works are an existential expression of her being and her personality structure. Their main characteristic is their elementary closeness to nature. [...] Essentially, since the beginning of the millennium, she has been looking at three clearly distinguishable creative phases. The nature cultivated by man in The form of forest or vineyards is their common denominator. The series Le Goût de la Terre (2001–2008) , the Bark Pictures (2008–2016) and Macro Pictures (2016–2019) include relief-like pictures in mixed media and have the character of an object. The artist developed and continually refined the appropriate technique around the turn of the millennium. "

From 2001 to 2008 he produced works on Le goût de la terre . Inspired by the importance of wine in Christian iconography , the artist worked for a long time with the pictorial implementation of the taste of wine and forged a bridge to geology . The soil, the terroir , is an essential factor in the Le goût de la terre cycle . Nina Stoelting initially devoted herself to Burgundy - as the cradle not only of Western culture, but also of viticulture - later on to outstanding German vineyards .

The artist collected the characteristic stones in these great historical locations. The authentic material of the specific vineyards was crushed and ground, mixed with pigments and applied to large wooden panels. Views of vineyards are shown in very different dimensions. Specifically, their structure, cultivation method or rock elements are reflected in the large-format pictures, partly strictly geometrical, partly more free and associative. Often the viewer thinks he is confronted with abstract art , but the opposite is the case: the sections from nature are very concrete, in which the vines are missing in order to reveal the ground.

The cycle of bark pictures followed from 2008 to 2016 , which has its roots in the myth and cultural history of the tree. Shown are specific barks in their ideal-typical structures, construction plans of nature, which - withdrawn from the natural context - create an irritating independence and abstraction.

Greatly enlarged sections of tree bark form the cycle macro bark (2016–2019) The macro views of specific details of the tree trunks illustrate, on the one hand, the unique aesthetics of the bark, but they also refer to related structures in completely different material contexts. The character and experience of the individual viewer evoke very different associations . Thus they reflect a complexity that raises questions about inherent relationships. Snapshots of nature, which is constantly renewing itself, are captured, which opposes impermanence by repeating its own principle.

The focus of the group of works Makrorinden is on large-format panel paintings, which are characterized by a relief-like surface structure combined with subtle coloring. Based on sketches, the final image structure develops in the work process. The material is applied in numerous layers, which range from very pastose to translucent, creating a great field of tension and which are characteristic of the artist's working method.

"In particular, Stoelting's most recent work cycles characterize works that are reminiscent of Art Informel painting and the style of Hans Arp . Structural parallels with regard to the interplay of contour, line, internal drawing and surface sometimes suggest a formal relationship. But the structural framework defines Nina Stoelting's work not cloudy distance and sensation, by no means inspirations and automatisms as they are reflected in the Ecriture automatique , but the long-term direct observation. The habitat and key biotope forest, which has been zoomed in, but memorized in the studio without a photographic protocol, is creatively captured thanks to her close connection with her motif treasure intuitive.

Stoelting couples sensual perception to empirical knowledge with the result of a reliable, ideal-typical approach to your central topic. "

"Stoelting's organically conceived macro-images are in direct relation to the human individual, whom the artist always thinks about where he may not immediately reveal himself. She underlines the diversity of the visible in a snapshot of the constantly renewing nature that is evolving through the repetition of her opposes its own principle of impermanence. The illusion of reality that her art creates reflects the specific subjectivity. Nonetheless, the macro-cortices stand out from earlier works by their extraordinary degree of abstraction. If Stoelting had even more focus on the trunk at the time, it comes to him now consistently close. The smaller the natural section to which it turns, the more spiritually stimulating the representation. The clarity is retained, the field of association is philosophically expanded and becomes a spiritual hub. The morphological exploration is not decoupled from the ontological manifesto and phenotypically perceptible. Together they form the picture. "

Nina Stoelting has been working on the cycle of ink drawings, whose origins lie in the vast Mecklenburg landscape, since 2019 . Huge fields without any notable elevations form predominantly horizontal, lively lines on which the regular rhythm of the machines working on them is, as it were, engraved. Churches built in typical brick Gothic are a reminder that the development of this granary was also a project for the Christianization of northeastern Europe. The title Give us today our daily bread, a line from the Our Father , refers to the overarching Christian meaning of the topic and also includes its function as a staple food.

All drawings are made with straws or ears of wheat. Umbra (burnt earth) was applied as an ink with the different parts of the plant on Chinese paper, the reverse side is always presented as a result. In this way, the drawings adapt classic reverse glass painting and, despite the fine paper, create an enormous effect of depth with a very strong material character.

Awards

  • 2015: Hessian Monument Protection Prize
  • 2011: 1st prize at Hofgartenplatz, Wiesbaden
  • 2009: International workshop Medana, Slovenia
  • 2003: Prize of the Naspa Foundation
  • 2001: Heussenstamm Foundation study trip award
  • 2000: Prize of the Naspa Foundation
  • 1999: Work stay in Budapest, Walz Foundation
  • 1996: Scholarship from the Lower Saxony Foundation

Works in public collections

literature

Catalogs (selection)

  • Nina Stoelting, Give us today our daily bread, Wiesbaden 2020, ISBN 978-3-00-065059-8 .
  • Nina Stoelting, Makros / Macros, Wiesbaden 2019, ISBN 978-3-00-061806-2 .
  • Nina Stoelting, X qm Berlin / X Squaremeters Berlin, Wiesbaden 2019, ISBN 978-3-00-061807-9 .
  • Art = diversity, 32 artists - 32 galleries, State Association of Galleries in Hesse and Rhineland-Palatinate, Wiesbaden 2013
  • Nina Stoelting, Mythos Wald, Galerie Draheim, Wiesbaden 2010, ISBN 978-3-00-032599-1 .
  • Bread - Form and Symbol, Museum of Bread Culture, Ulm 2005
  • Nina Stoelting, Le goût de la terre, Wiesbaden 2003
  • Nina Stoelting, wine tasting, Wiesbaden 2000

Own publication

  • Christina Stoelting, Staging of Art, The Emancipation of the Exhibition of Artwork, VDG, Weimar 2000, ISBN 3-89739-103-1 .

bibliography

Films (selection)

Individual evidence

  1. ↑ Dorothee Baer-Bogenschütz, Ewig neue Gestalten, On Nina Stoelting's current forest work in: Makros / Macros , Wiesbaden 2019
  2. ↑ Ibid.

Web links

personal data
SURNAME Stoelting, Nina
BRIEF DESCRIPTION German artist
DATE OF BIRTH 1966
PLACE OF BIRTH Wiesbaden