Stolle’s works are hybrid creations explored through different artistic means with quite a graphic, sculptural but also painterly quality. Stolle’s optical raw material is apparently a binary combination of black and white. In-depth consideration, however, reveals various shades of grey and subtle shades that have been patiently incorporated into the respective medium of support.
The ink drawings are developed like a sculpture: Stolle scratches, cuts, scrapes and grinds her papers, reworking each stroke, grid, plane and hatching. The artist roughly works the medium, material and structure in order to create a diffuse materiality. This technique is used to engineer her ascetic as well as comprehensive formations, such as geometrical basic figures and complex polyhedra. Comparable to abstract grisailles, which are based on the influence of the light and shadow effect between black and white, her objects are mediating fine graduations and stark contrasts. The omissions and violations caused on the paper ultimately turn out to be the result of sculptural interventions on the surface. The constructivist character of the works is based on an act of deconstruction in the creative process. In doing so, Stolle handles medium and material as an equal form of design.
The wall objects made of pliable wood are successively bent and pulled into its intricate shape under mechanical and thermal influence, which hardly gives any idea of the material used.
The outer shape is similar to the lightness and agility of a rolled paper strip - magnified in a fantastic manner and scale. In its dimension and material properties, they behave like mighty, agile bodies with diffuse surfaces manifesting reflections of surrounding space and the viewer. Stolle poetically questions the interaction between surface and space - between black and white, the lightness of the paper versus the massless weight of the wooden sculpture, the oddly conceived minimal shapes and the celestially applied light.