ABOUT THE ARTIST
Tineke Stoffels, Den Helder The Netherlands, 1957
As long as I can remember, I have had the urge to create. With paper, paint and brushes or textile arts. In the garden with plants, behind the stove with food, indoors with paint, furniture and fabrics.
Many years ago when my father gave me his old camera, I discovered photography as the perfect medium. Photography for me as a means of expression is the ideal combination of technology and design. Because I think mainly in pictures, the camera helps me to visualize my thoughts and ideas. To get the result I’m striving for, I want to understand and master the techniques I require. I keep trying until I succeed and am satisfied.
The biggest source of inspiration for me is the past. As a child I loved to listen to the teacher during history lessons at school. And I am still curious about the history of a region, a building, a city or village. I like to collect old jars, glass, textiles, and especially kitchen utensils found on flea markets.
My interest in art was born when my aunt took me at the age of 12 to the Rijksmuseum in Amsterdam. I still feel how impressed I was by the works of the Dutch Masters : the use of light and shadow, the colors, the clothes, the subjects, the techniques.
In my studio I can fully concentrate on the creation of a new work. With the use of my camera and strobes. For preparing and assembling a new still life I take plenty of time. Until everything is placed the way I want.
I love natural materials, simplicity, symmetry, strong lines, sober colors and exquisite detail and apply that as much as possible in my work. Where possible already during the assembly of the still life. Or afterwards in post-processing.
The digital 'dark room' is the final stage. Photoshop gives me the tools I need to convert the picture into a painting like image. A process that takes several days. Although I follow a specific procedure, I leave room to be surprised by what comes up seemingly spontaneous in this process. The 'work in progress' dictates me what to do.
One often wonders upon seeing my work, whether it 's a photograph or a painting. For me it's both.
ARTzaanstad 2018, Zaanstad, The Netherlands 26-05/27-05 2018
ARTzaanstad 2017, Zaanstad, The Netherlands 16-06/18-06 2017
3th Salon Artistique of the Internation Women's Club Provence, Centre Culturel, France 10-04-14-04 2017
Galerie Meander, Zevenaar, The Netherlands 27-11-2016/ 15-01-2017
Giga Foto Expo, Galerie Thyade, Rotterdam, The Netherlands 08-12/ 31-12 2016
Goodman-Bell Expositie, Kunstcentrum Haarlem, The Netherlands 24-09/23-10 2016
FMR Exposition L'Appertement, Lorgues, France 10-7 2016
Zomerexpositie, Het Kunstcentrum, Zaandam, The Netherlands 09-07/03-09 2016
ARTzaanstad 2016, Zaanstad, The Netherlands 20-05/22-05 2016
Expositie Fotografie, Kunstuitleen Bollenstreek, Hillegom, The Netherlands 19-03/09-04 2016
Fotografie, SBK Amsterdam Zuid, The Netherlands 24-01/28-02 2016
Mirabeau, Cotignac, France July 2015- present
Art Exhibition IWCP Centre Culturel Lorgues, France 20-24 April 2015
Lustrum Exhibition of DNC Cote d'Azur Theoule-sur-Mer, France 5-12 October 2014
On Art and Aesthetics, August 2017
Perfectly Provence Boutique, August 31, 2015
Provence Recipes Captured as Art
Dutch fine art photographer Tineke Stoffels depicts the ingredients of the most famous and traditional recipes from Provence. Get inspired by these fabulous art pieces!
Blog Mirabeau Wine, July 23, 2015
Provence Recipes captured as art.
Dutch fine art photographer Tineke Stoffels lives near Cotignac, and when we first saw her work, we knew it would be a perfect fit in the Mirabeau Boutique for representing the “Taste of Provence”.
Inspiration Hut, Febuary 2013
Vintage Style Still Life Photography by Tineke Stoffels
Tineke Stoffels is brilliant at composition and captures light in a way that still life photographs look like paintings. She combines photography with digital paint, which adds to the vintage, 17th. century style painting effect.
FOTOGRAFIE Magazine, March 2011
DISPARO Magazine, Febuary 2012
Magazine, issue black, page 72-75