Klaas Kloosterboer's principle starting point is paint and canvas that often comes with a wide range of materials like empty chairs or cardboard boxes, performances or theatrical settings such as putting his paintings behind industrial printed curtains that may be pulled aside by the gallerist who guides visitors through the exhibition. For him in painting there is more than the pure act of painting and more than the work itself. He says: "The work does not matter". Instead of emphasizing the interest of the artifacts as a final result he also questions them, especially in his shows. How do they behave, what meaning could it generate other than in his studio?
In the works of Klaas Kloosterboer gesture is a re-appearing phenomenon. It makes his works energetic and in an attractive way short cut and simple. It is a matter of take-it- or-leave- it and in that sense radical in just executing his plan or program.
In his exhibition "Voorraad" (Eng. "Store") in Galerie van Gelder he confronts the public with stretchers of rough jute and oversized pockets, each filled with a firm bunch of straw, i.e. a corridor-like installation of four large canvasses that the visitor has to walk through. On the floor a straw bale is standing upright with on its top a touch of straw. A second floor sculpture exists of a few bales couvered with a cloth of lacquer painted canvas.
The use of loose straw in the exhibition "Voorraad"creates an atmosphere of temporality and improvisation. Such a set-up as working attitude is characteristic for Kloosterboer. It makes his work broad in spirit and playful in its final result.
Klaas Kloosterboer exhibited a.o. in Museum Boijmans van Beuningen / Submarine Wharf, XXXL Painting, with Chris Martin and Jim Shaw (2013); Villa Romana, Florence, Italy (2010); Reykjavik Arts Festival, Sudsudvestur, Iceland (2009); Badischer Kunstverein, Karlsruhe (2003); Centraal Museum, Utrecht (‘Dumb Painting’ 1992) and various galleries in Germany, Belgium, Switzerland, England, Norway, Hungary, Australia.