Stolle beautifully perverts Stryker’s infamous “kill” punches, collapsing the comfortable distance between past and present and confronting viewers with what we don’t want to know about where our food comes from. As Stryker fought to narrow the nations’s perceptions of catastrophe, Stolle seeks to expose another catastrophe before it’s too late. Roula Seikaly, Photograph Magazine, July/August 2019

Like a ventriloquist with a contrary voice, Kirsten Stolle appropriates secretive practices of redaction, misdirection and sloganeering to shed paradoxical light on media misinformation.  Her primary target is Agricorps and the industrialization of food production, confronting the increasingly florid rhetoric that pushes genetically modified organism into high fashion. With vintage magazines and mid-century print ads as her muse, Stolle skillfully blocks out portions of ad copy to author alternative narratives from the remains:  obscuring sight to craft revealing insight.    Steven Matijcio, Curator, Contemporary Arts Center, Cincinnati, Ohio


Kirsten Stolle's collages and installations draw viewers in with their compositions of carefully arranged designs of found images, revealing on closer inspection the sinister contours of post-Cold War formations of the American chemical industry, nuclear weapons proliferation and global military campaigns---the fantasies of American progress embodied in mutations of the natural order.  –Cora Fisher, Curator, Southeastern Center for Contemporary Arts, Winston-Salem, North Carolina


With the appearance of Genetically Modified Organisms (GMO) in 1996, the choice of a food source that was presented by technological advancement and discovery brought with it more than a meal dilemma: it presented a question of morality, one that Stolle chose not to ignore.  Portraying her investigation of the issue through artistic means, she has developed a practice that not only opens the conversation on the subject and with a wide audience but does so in a visually stunning way that often sends chills down the spine.             -Lor Dethal, WIDEWALLS


Stolle evidences an inquisitiveness of mind and eagerness to research matters that are economic and ethical with a necessary and measured distance.  --Diana Daniels, Associate Curator, Contemporary Art, Crocker Art Museum


Stolle's work is an explicit critique of what once represented the American dream, the blind faith in progress through science and technology, and the role of business in making profit.  --Karl Volkmar, The New Orleans Art Review


Kirsten Stolle redacts Monsanto advertisement from the late 1940s. By blacking out certain words, and adding collage elements, she reveals the true meanings---according to contemporary standards, of course---of the "organic chemicals" like saccharin that were once considered glamourous or as, in the case of insecticides like DDT or Insect-o-Blitz, even miraculous.  --Dewitt Cheng,


An ease, maybe a delight in the process, runs through it that communicates itself quite well to the viewer, along with the work's darker insinuations.  --Kenneth Baker, San Francisco Chronicle


Stolle's nature lyricism, however, is of the moment: allusive and elusive, complex and multivalent. Inviting viewer participation, they're more psychologically involving and playfully enigmatic. --Dewitt Cheng, art ltd.