Mari Stoel ©

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  1. Ezel / Easel, 2022 wood, laquer, oil paint 90 x 140 x 70 cm. 

    Ezel / Easel, 2022

    wood, laquer, oil paint

    90 x 140 x 70 cm. 

    Ezel / Easel, 2022 wood. laquer, oil paint 100 x 83 x 20 cm. 

    Ezel / Easel, 2022

    wood. laquer, oil paint

    100 x 83 x 20 cm. 

    Ezel / Easel, 2022 wood, laquer, oil paint 90 x 140 x 70 cm. 

    Ezel / Easel, 2022

    wood, laquer, oil paint

    90 x 140 x 70 cm. 

    Ezel / Easel, 2022 wood. laquer, oil paint 100 x 83 x 20 cm. 

    Ezel / Easel, 2022

    wood. laquer, oil paint

    100 x 83 x 20 cm. 

    • 1

      Ezel / Easel, 2022

      wood, laquer, oil paint

      90 x 140 x 70 cm. 

    • 2

      Ezel / Easel, 2022

      wood. laquer, oil paint

      100 x 83 x 20 cm. 

  2. composition # 15, 2021 wool, 160 x 120 cm. 

    composition # 15, 2021

    wool, 160 x 120 cm. 

    composition # 14, 2022 wool, 110 x 79 cm.

    composition # 14, 2022

    wool, 110 x 79 cm.

    composition # 13, 2022 wool, 90 x 86 cm.

    composition # 13, 2022

    wool, 90 x 86 cm.

    composition # 15, 2021 wool, 160 x 120 cm. 

    composition # 15, 2021

    wool, 160 x 120 cm. 

    composition # 14, 2022 wool, 110 x 79 cm.

    composition # 14, 2022

    wool, 110 x 79 cm.

    composition # 13, 2022 wool, 90 x 86 cm.

    composition # 13, 2022

    wool, 90 x 86 cm.

    • 1

      composition # 15, 2021

      wool, 160 x 120 cm. 

    • 2

      composition # 14, 2022

      wool, 110 x 79 cm.

    • 3

      composition # 13, 2022

      wool, 90 x 86 cm.

  3. Scheiding / Parting, 2020   oil on paper, 50 x 60 cm.  < 200 x 195 cm.

    Scheiding / Parting, 2020  

    oil on paper, 50 x 60 cm. 

    < 200 x 195 cm.

    Scheiding / Parting, 2020&amp;nbsp;&amp;nbsp; oil on paper, 50 x 60 cm.&amp;nbsp; &amp;lt; 200 x 195 cm.

    Scheiding / Parting, 2020  

    oil on paper, 50 x 60 cm. 

    < 200 x 195 cm.

    • 1
    • 2

      Scheiding / Parting, 2020  

      oil on paper, 50 x 60 cm. 

      < 200 x 195 cm.

    • 3
  4. Radiator, 2018 - 2021 oil on canvas, series of 20 40 x 150 cm. / 40 x 110 cm. / 40 x 300 cm.&amp;nbsp;

    Radiator, 2018 - 2021

    oil on canvas, series of 20

    40 x 150 cm. / 40 x 110 cm. / 40 x 300 cm. 

    radiator, 2021 oil on canvas, 40 x 110 cm.

    radiator, 2021

    oil on canvas, 40 x 110 cm.

    Radiator, 2018 oil on canvas, 40 x 150 cm.

    Radiator, 2018

    oil on canvas, 40 x 150 cm.

    Radiator, 2018 - 2021 oil on canvas, series of 20 40 x 150 cm. / 40 x 110 cm. / 40 x 300 cm.&amp;nbsp;

    Radiator, 2018 - 2021

    oil on canvas, series of 20

    40 x 150 cm. / 40 x 110 cm. / 40 x 300 cm. 

    radiator, 2021 oil on canvas, 40 x 110 cm.

    radiator, 2021

    oil on canvas, 40 x 110 cm.

    Radiator, 2018 oil on canvas, 40 x 150 cm.

    Radiator, 2018

    oil on canvas, 40 x 150 cm.

    • 1

      Radiator, 2018 - 2021

      oil on canvas, series of 20

      40 x 150 cm. / 40 x 110 cm. / 40 x 300 cm. 

    • 2

      radiator, 2021

      oil on canvas, 40 x 110 cm.

    • 3

      Radiator, 2018

      oil on canvas, 40 x 150 cm.

  5. Study for self-portrait, 2018 Installation, assembled ceiling with punctured ceiling plates (softboard, 60 x 60 cm. each )

    Study for self-portrait, 2018

    Installation, assembled ceiling with punctured ceiling plates (softboard, 60 x 60 cm. each )

    Study for self-portrait, 2018 Installation, assembled ceiling with punctured ceiling plates (softboard, 60 x 60 cm. each )

    Study for self-portrait, 2018

    Installation, assembled ceiling with punctured ceiling plates (softboard, 60 x 60 cm. each )

    • 1

      Study for self-portrait, 2018

      Installation, assembled ceiling with punctured ceiling plates (softboard, 60 x 60 cm. each )

    • 2
    • 3
  6. Breakfast, 2016 mixed media on canvas, 12 x 10 cm.&amp;nbsp; &amp;nbsp; courtesy of Luciano Benetton collection imago mundi

    Breakfast, 2016

    mixed media on canvas, 12 x 10 cm.   

    courtesy of Luciano Benetton collection imago mundi

    Breakfast, 2016 mixed media on canvas, 12 x 10 cm.&amp;nbsp; &amp;nbsp; courtesy of Luciano Benetton collection imago mundi

    Breakfast, 2016

    mixed media on canvas, 12 x 10 cm.   

    courtesy of Luciano Benetton collection imago mundi

    • 1

      Breakfast, 2016

      mixed media on canvas, 12 x 10 cm.   

      courtesy of Luciano Benetton collection imago mundi

    • 2
  7. Golf (Wave), 2016 silkprint (monochrome)&amp;nbsp; paper, drying frame&amp;nbsp;

    Golf (Wave), 2016

    silkprint (monochrome) 

    paper, drying frame 

    Golf (Wave), 2016 silkprint (monochrome) framed, 50 x 65 cm.

    Golf (Wave), 2016

    silkprint (monochrome) framed, 50 x 65 cm.

    Golf (Wave), 2016 silkprint (monochrome)&amp;nbsp; paper, drying frame&amp;nbsp;

    Golf (Wave), 2016

    silkprint (monochrome) 

    paper, drying frame 

    Golf (Wave), 2016 silkprint (monochrome) framed, 50 x 65 cm.

    Golf (Wave), 2016

    silkprint (monochrome) framed, 50 x 65 cm.

    • 1

      Golf (Wave), 2016

      silkprint (monochrome) 

      paper, drying frame 

    • 2

      Golf (Wave), 2016

      silkprint (monochrome) framed, 50 x 65 cm.

  8. Study for composition # 12, 2015 oil on paper, trestles

    Study for composition # 12, 2015

    oil on paper, trestles

    Study for composition # 12 arises from a free interpretation of an anamorphosis, using a trestle

    Study for composition # 12 arises from a free interpretation of an anamorphosis, using a trestle

    oil on canvas, 50 x 60 cm.

    oil on canvas, 50 x 60 cm.

    Study for composition # 12, 2015 oil on paper, trestles

    Study for composition # 12, 2015

    oil on paper, trestles

    Study for composition # 12 arises from a free interpretation of an anamorphosis, using a trestle

    Study for composition # 12 arises from a free interpretation of an anamorphosis, using a trestle

    oil on canvas, 50 x 60 cm.

    oil on canvas, 50 x 60 cm.

    • 1

      Study for composition # 12, 2015

      oil on paper, trestles

    • 2

      Study for composition # 12 arises from a free interpretation of an anamorphosis, using a trestle

    • 3

      oil on canvas, 50 x 60 cm.

    • 4
  9. Window # 2, 2014 1 slide projection

    Window # 2, 2014

    1 slide projection

    Original slide

    Original slide

    Window # 2, 2014 1 slide projection

    Window # 2, 2014

    1 slide projection

    Original slide

    Original slide

    • 1

      Window # 2, 2014

      1 slide projection

    • 2

      Original slide

    • 3
  10. untitled, 2009 wood, 212 x 100 x 110 cm.

    untitled, 2009

    wood, 212 x 100 x 110 cm.

    untitled, 2009 wood, 212 x 100 x 110 cm.

    untitled, 2009

    wood, 212 x 100 x 110 cm.

    • 1

      untitled, 2009

      wood, 212 x 100 x 110 cm.

    • 2
  11. The golf ball project (2008)

    It was in July of 2008, when I was invited by guest studio Leo XIII in Tilburg, that I saw a work made by my predecessor. Her name was D. This work was a small piece of earth (grass and all) that was placed on a crack on the floor in the guest studio. I was quite intrigued and wanted to use it in my own exhibition the following month. I asked D if were possible. She wanted to know what my plans were and I told her I could put a small golf ball on it, for example. D didn’t mind and the following day I told the entire story to my friend and colleague B. After telling him about my idea he mentioned a work by an Irish artist by the name of S who had exhibited a bronze golf ball that had been stolen from a statue of Bill Clinton from some village in Ireland.


    I came upon the idea to try and acquire the golf ball so that I could exhibit it on the small piece of grass that I had lent from D. The gag of giving the golf ball a new context inspired me but getting possession of it proved difficult: the Irish artist S had left Holland for an art residency program in Canada a few days before. Still, I decided to email him and explain my idea. He liked the concept but was hesitant to relinquish the golf ball for the exhibition. I had three weeks before my opening and decided not to give up. S eventually said he would send the ball with a small story about its history and where it had come from. As our email correspondence grew he eventually changed his mind and in the end declined to send it. His final refusal I printed out and crumbled into a tiny ball approximately the size of the bronze golf ball, which I placed on the piece of grass. On the wall space next to it I exhibited 12 pages of our email dialogue.

  12. The golf-ball project (detail), 2008 crumbled paper on pile of earth and grass

    The golf-ball project (detail), 2008

    crumbled paper on pile of earth and grass

    e-mail dialogue with S (for reverance, see link in menu)

    e-mail dialogue with S (for reverance, see link in menu)

    The golf-ball project (detail), 2008 crumbled paper on pile of earth and grass

    The golf-ball project (detail), 2008

    crumbled paper on pile of earth and grass

    e-mail dialogue with S (for reverance, see link in menu)

    e-mail dialogue with S (for reverance, see link in menu)

    • 1

      The golf-ball project (detail), 2008

      crumbled paper on pile of earth and grass

    • 2

      e-mail dialogue with S (for reverance, see link in menu)

  13. untitled, 2008 installation wood, canvas, paint

    untitled, 2008

    installation

    wood, canvas, paint

    untitled, 2008 installation wood, canvas, paint

    untitled, 2008

    installation

    wood, canvas, paint

    • 1

      untitled, 2008

      installation

      wood, canvas, paint

    • 2
  14. Synthesis, &amp;nbsp;2008 Assembled wood, 100 x 210 cm.

    Synthesis,  2008

    Assembled wood, 100 x 210 cm.

    Synthesis, &amp;nbsp;2008 Assembled wood, 100 x 210 cm.

    Synthesis,  2008

    Assembled wood, 100 x 210 cm.

    • 1

      Synthesis,  2008

      Assembled wood, 100 x 210 cm.

    • 2
  15. untitled, 2001&amp;nbsp; installation, mixed media&amp;nbsp;150 x 145 x 160 cm.&amp;nbsp; &amp;nbsp;A painter's studio scene with disappearing figure and background sound of (classic) portable radio&amp;nbsp;&amp;nbsp;

    untitled, 2001 

    installation, mixed media 150 x 145 x 160 cm.   A painter's studio scene with disappearing figure and background sound of (classic) portable radio  

    untitled, 2001&amp;nbsp; installation, mixed media&amp;nbsp;150 x 145 x 160 cm.&amp;nbsp; &amp;nbsp;A painter's studio scene with disappearing figure and background sound of (classic) portable radio&amp;nbsp;&amp;nbsp;

    untitled, 2001 

    installation, mixed media 150 x 145 x 160 cm.   A painter's studio scene with disappearing figure and background sound of (classic) portable radio  

    • 1

      untitled, 2001 

      installation, mixed media 150 x 145 x 160 cm.   A painter's studio scene with disappearing figure and background sound of (classic) portable radio  

    • 2
  16. Op weg naar de Aldi # 1 (The Errant # 1), 2000 photo, 20 x 30 cm.

    Op weg naar de Aldi # 1 (The Errant # 1), 2000

    photo, 20 x 30 cm.

    Op weg naar de Aldi # 2 (The Errant # 2) 2001 photo, 20 x 30 cm.

    Op weg naar de Aldi # 2 (The Errant # 2) 2001

    photo, 20 x 30 cm.

    untitled, 2001 photo, 30 x 45 cm.

    untitled, 2001

    photo, 30 x 45 cm.

    Op weg naar de Aldi # 1 (The Errant # 1), 2000 photo, 20 x 30 cm.

    Op weg naar de Aldi # 1 (The Errant # 1), 2000

    photo, 20 x 30 cm.

    Op weg naar de Aldi # 2 (The Errant # 2) 2001 photo, 20 x 30 cm.

    Op weg naar de Aldi # 2 (The Errant # 2) 2001

    photo, 20 x 30 cm.

    untitled, 2001 photo, 30 x 45 cm.

    untitled, 2001

    photo, 30 x 45 cm.

    • 1

      Op weg naar de Aldi # 1 (The Errant # 1), 2000

      photo, 20 x 30 cm.

    • 2

      Op weg naar de Aldi # 2 (The Errant # 2) 2001

      photo, 20 x 30 cm.

    • 3

      untitled, 2001

      photo, 30 x 45 cm.