Online viewing The Others Art Fair
From the 4th until the 7th of November Root Gallery is part of The Others Art Fair in Turin (Italy). The Others is the main Italian fair dedicated to emerging national and international art, created to enhance new creative energies through a unique exhibition system, aimed at rediscovering and give new life to abandoned places of Turin.
At the fair, we show the works of Quinda Verheul, Donald Schenkel and Jan Kuhlemeier.
With subtle oil paint colour gradients, Donald Schenkel creates art works that express a certain clarity and peace. When taking a second, closer look, the digital, visual language of the work seems to be based on the materiality of the paint. Each work is unique. Donald doesn’t approach oil paint as a medium to paint an image, but purely as a material that exposes the behaviour of colours.
Thanks to his fascination with natural energies and phenomena, the experience of a landscape is the common thread that appears in all of his works. Jan Kuhlemeier constantly explores different materials, always with a layered use of colours at the base. Different pigments and materials have various characteristics, and these characteristics are magnified within the framework of his work. Jan’s personal experiences are expressed in the movement and the rhythm of creation, as well as in the use of colour in the abstract images.
Quinda Verheul is inspired by big scientific topics like the hydrological cycle, the erosion of the earth and natural forces like wind, water and sunlight. But also by the practice of mining, where people dig for treasure and ruin and influence entire landscapes. By using mirrors, Quinda shows both the human perspective as well as the experience of emptiness and reflection. With this, she creates strange landscapes that offer some kind of recognition, but which can also be part of an entirely different world. Her work is usually site specific and temporary, an aspect which also questions the value of temporary work and the extent to which physical presence of said piece is still necessary.
By Karen van de Vliet
85 × 65 cm, 2026
Mixed media on linen, framed
In Lucent #8, Karen van de Vliet sets a broad blush-pink form against a dark, glossy shape. Between them, a textured white centre and narrow vertical lines of orange, yellow, red and black create a sense of rhythm and restraint. Translucent layers soften the edges of the composition, while the raised surfaces give this contemporary abstract mixed-media painting a sculptural presence. The work reflects Karen van de Vliet’s interest in how contrasting materials can meet, push against one another and create a new balance.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Donald Schenkel
Oil on canvas
130 × 75 cm, 2026
Wooden frame included
In The Imitator, two fine vertical traces appear almost alike, but never entirely identical. Their subtle differences create a tension between repetition and variation, while a gradual movement from blue through rose to orange shifts the painting’s atmosphere. Donald Schenkel builds the image in one wet-on-wet layer of oil paint, allowing the marks and colour transitions to remain connected. The work turns a simple visual echo into an open-ended study of likeness and difference.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Donald Schenkel
Oil on canvas
140 × 80 cm, 2026
Wooden frame included
In The Astronomer, a slender orange mark draws the eye through a field that moves from blue into pale light and warm, earth-toned colour. Donald Schenkel gives this small, concentrated gesture room to hold its own against the painting’s expansive surface. The work is made in a single wet-on-wet layer of oil paint, a process that allows each transition to remain part of one continuous movement. The result is an abstract oil painting shaped by contrast, atmosphere and the act of looking.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Lisette Schumacher
135 × 80 × 6 cm, 2026
Mixed Media
From the series Desert Modernism
In Desert Modernism VII, Lisette Schumacher translates the atmosphere of Palm Springs into an abstract mixed-media painting. Sweeping bands of peach, soft pink and pale blue move across a textured field, punctuated by flashes of yellow and a deep blue edge. The composition shifts between fluid brushwork and a densely speckled surface, creating the sensation of looking across a sunlit landscape without depicting a specific view.
The work belongs to Schumacher’s Desert Modernism series, developed after her visit to Palm Springs and Albert Frey’s modernist Frey House II. Her paintings explore the contrasts that define this setting: architecture and wilderness, shelter and open landscape, warm desert colours and the cool blues of sky and water.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Karen van de Vliet
85 × 65 cm, 2026
Mixed acrylic paint on cotton, framed
Translucent XVIII by Karen van de Vliet is built around a striking shift in weight. Fine lines of colour descend through pale, translucent paint before being drawn into a dense black form.
Yellow, blue, red and green remain visible within the darker surface, as if the colour continues beneath it. Differences in transparency, gloss and relief give this abstract painting a strong physical presence that becomes especially apparent at close range.
This original work by the Dutch painter measures 85 × 65 cm and is presented in a light wooden frame. It can be viewed by appointment at Root Gallery or acquired online.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Karen van de Vliet
85 × 65 cm, 2026
Mixed acrylic paint on cotton, framed
In Translucent XIX, Karen van de Vliet takes the stain as her starting point: an unpredictable form that cannot be entirely controlled and therefore leaves room for unexpected beauty. Her fascination with such forms began in childhood, when ordinary sights - such as a puddle scattered with autumn leaves - could appear both beautiful and slightly strange.
Translucent layers, clearly defined lines and thicker areas of paint come together in a composition that seems suspended mid-flow. Pale blue, black and off-white are intersected by red, yellow and fluorescent pink. Underlying colours, gestures and traces remain visible, allowing the work to reveal new details when viewed up close.
In Translucent XIX, spontaneity is carefully balanced with structure. The work moves between accident and control, visual attraction and a subtle sense of dissonance.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Emma Veulemans
60 × 55 cm, 2026
Acrylic and oil stick on wood
In Tuinhek (Garden Gate), Emma Veulemans transforms a familiar domestic scene into a carefully constructed arrangement of colour and form. A red-roofed house appears behind a dark garden gate, surrounded by fir trees and rhythmic clouds.
The gate forms a strong graphic structure in the foreground, partly concealing the house while drawing attention to what lies beyond it. Painted in acrylic and oil stick on MDF, the work combines flat areas of colour with visible marks and subtle variations in texture.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Quinda Verheul
32 x 29 x 16 cm, 2024
Light gray rock rose mirror
Complementary to her practice as an artist, Quinda Verheul is also an athlete partaking in several competitions each year. Usually, these are solo ultra-distance mountain bike competitions that depend on self sufficiency. Being in the midst of the landscape, experiencing the mountains, the different weather conditions, and the site at night enhances her fascination for the landscape which is inextricably reflected in her practice.
Quinda created a new series that she has named after her favourite mountain pass in Kyrgyzstan; Kegeti - a 4000 metres pass with steep and inhospitable conditions. What inspired this new series was the image of black rocks at the top of the mountain. Lingering in thin air, the black stood out against the blue sky. Being alone for days and finding the motivation to continue created a lot of room for reflection. It was in this moment that she truly became one with her environment.
Delivery in the Netherlands and Belgium is complimentary, carefully arranged in consultation, either in person or securely shipped. We’re happy to advise on placement and presentation.
By Karen van de Vliet
85 × 65 cm, 2026
Mixed media on linen, framed
Lucent #9 brings a dark, glossy field into conversation with a textured white band and flowing stripes of blue, lavender, yellow and orange. Small areas of bright colour appear within translucent forms near the top, while fine white and red lines cut through the darker section. Karen van de Vliet builds the abstract mixed-media composition through contrasts in colour, texture and opacity. The raised, sculptural surface makes the painting feel both layered and in motion, extending Karen van de Vliet’s exploration of painting as a tactile, material form.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.