KunstRAI 2023
From May 3 to May 7 Root Gallery will return to the art fair KunstRai with a large selection of works by Donald Schenkel, Quinda Verheul , Karen van de Vliet, Lisette Schumacher and Saïd Kinos. Jan Kuhlemeier too will be there with a solo exhibition.
During the upcoming months, the artists will continue working on existing series, though new works will also be on view. You can expect to see new additions to Lisette Schumacher’s Novel Trailing Reflection series in which she applied new materials and techniques. Quinda Verheul is currently working on the realisation of new sculptures reminiscent of eroded and weathered fragments of mountains as well additions to her glow series. She aimed to create versions of her own imagined world. Karen van de Vliet is working on new paintings characterised by structured surface and colour studies, creating bright in depth artworks. You can also find new artworks by Saïd Kinos who has been working hard to make a comprehensive series of new works in different disciplines such as paintings, sculptures, and works on paper. Donald Schenkel too is taking on new approaches in his work through the creation of three dimensional paintings, the results of which will be on view at the KunstRai!
Solo Jan Kuhlemeier
In addition to the group booth presentation, Root Gallery will give room to the works of Jan Kuhlemeier in a separate solo exhibition at the KunstRai in which you are able to discover the most recent developments in his practice. Jan explores how different surfaces can contribute to the way material reacts to these movements leading to endless new findings during the process. The results are unique works in which translucent layers of colour are used to search for specific hues and colour nuances. Different layers form a dialogue with each other creating a strong composition characterised by depth and reflection. At the KunstRai visitors can expect new additions to his Shifting Tides series as well as works part of his new Chroma series which he is currently working on. The works that will be presented in Amsterdam are going to be newly developed, large artworks in which Jan experimented with gel mediums, acrylic and pigments.
Location
Europaplein 24, 1078 GZ Amsterdam
Opening Hours
Wednesday 3 May 4 – 9 PM (OPENING, by invitation only)
Thursday 4 May 11 AM – 6 PM
Friday 5 May noon – 9 PM
Saturday 6 May 11 AM – 6 PM
Sunday 7 May 11 AM – 6 PM
Below an impression of what you can expect at the KunstRAI 2023. Did you see a specific work that caught your eye? Please send us an email to make sure we will bring it to the art fair.
Paintings by Lisette Schumacher
By Lisette Schumacher
30 × 25 x 6 cm, 2026
Mixed media
From the series Coachella views
Warm orange and coral dominate Coachella Views XVII, balanced by soft lavender and a muted golden form at its centre. Lisette Schumacher builds the composition through overlapping movements that suggest wind, heat and the continual transformation of a distant view. A field of smaller marks on the right creates rhythm and interrupts the larger areas of colour.
The palette recalls the warmth of the Coachella Valley without turning the landscape into a literal image. Schumacher instead isolates its energy: the brightness of the desert, the sense of open distance and the colours that emerge as conditions change. The result is a compact yet lively artwork that brings warmth and character to a space.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Lisette Schumacher
30 × 25 x 6 cm, 2026
Mixed media
From the series Coachella views
Lisette Schumacher explores the expressive range of a concentrated palette in Coachella Views XVI. Saturated magenta moves through translucent lilac, surrounding a pale central form that seems to open up within the composition. Along the right edge, a finely broken pattern adds texture and counters the larger, flowing movements.
Although nearly monochromatic at first glance, the work contains subtle differences in tone, density and reflection. These variations become more apparent over time, giving the composition a changing presence without losing its clarity. Coachella Views XVI is an assured choice for collectors drawn to colour-led abstraction and works that combine immediate impact with visual depth.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Lisette Schumacher
60 × 50 x 6 cm, 2026
Mixed media
From the series Coachella views
Coachella Views XIV is one of the most contrasting works in Lisette Schumacher’s series. Warm coral and golden yellow meet cooler blue and lilac, recalling the striking opposition between the sunlit Coachella Valley and the snow-capped San Jacinto Mountains beyond it. Broad areas of colour create movement, while an intricate pattern on the right gives the composition a more concentrated intensity.
Schumacher does not reproduce a particular view. Instead, she brings together impressions of heat, distance, wind and rapidly changing colour. The result is a confident abstract artwork with a strong presence: vivid enough to anchor a space, yet layered enough to reveal quieter transitions on closer inspection.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Lisette Schumacher
60 × 50 x 6 cm, 2026
Mixed media
From the series Coachella views
Lisette Schumacher brings coral pink and soft lilac together in Coachella Views XIII. Large, fluid forms are interrupted by a finely patterned area that appears to disperse across the right side of the composition. A pale central opening creates depth, as though a distant light or landscape is briefly visible between the surrounding colours.
The work originates in Schumacher’s observations of the Coachella Valley, where intense sunlight, wind and distance continually alter how the landscape is perceived. Here, that experience becomes an atmospheric composition that feels both open and enveloping. The restrained palette makes the work easy to live with, while its subtle visual shifts continue to reward close attention.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Lisette Schumacher
95 × 80 x 6 cm, 2026
Mixed media
From the series Coachella views
In Coachella Views XII, Lisette Schumacher translates the shifting colours of the California desert into an expansive abstract composition. Pale blue, peach and pink move across the surface in broad, sweeping forms, while warmer golden areas appear between the layers. Finer patterns along the right-hand side introduce contrast and draw the eye further into the work.
The painting was inspired by Schumacher’s journey through Palm Springs, Cathedral City and Desert Hot Springs. Rather than depicting the landscape directly, she captures the experience of colour changing across the Coachella Valley: open, bright and never entirely still. Its generous scale gives the work a strong presence while the nuanced palette keeps the composition balanced.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Lisette Schumacher
60 × 50 x 6 cm, 2026
Mixed media
From the series Coachella views
The desert landscapes surrounding Palm Springs are known for their clarity of light and wide horizons. During her visits to the Coachella Valley, Lisette Schumacher experienced how dramatically the atmosphere can shift throughout the day.
Bright sunlight, wind and the vast openness of the desert create a landscape in constant transformation. Colours appear to intensify, fade and re-emerge as the sun moves across the valley.
Schumacher approaches these observations through an intuitive process in which colour and gesture develop gradually across the surface. Soft layers of pink, orange and yellow pigments move across the painting like shifting light fields, occasionally interrupted by reflective passages that recall flashes of sun across the desert terrain.
The composition reflects Lisette Schumacher’s ongoing interest in how landscape, architecture and atmosphere influence the perception of colour. Rather than presenting a fixed view of the desert, the work captures the sensation of light moving through space.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Lisette Schumacher
120 × 100 × 5 cm, 2026
Mixed Media
From the series Desert Modernism
Desert Modernism II continues Lisette Schumacher’s exploration of the Coachella Valley, shifting towards a more fluid and atmospheric approach.
Rather than referencing architecture directly, the work unfolds through movement across the surface. Pigment is guided, displaced and allowed to settle, creating soft transitions, layered transparencies and subtle variations in tone.
Warm desert colours - yellow, sand, orange and brown - dissolve into cooler greys and pale pinks. These transitions echo the changing light conditions Schumacher experienced in Palm Springs, where colour is never fixed but continuously shaped by its surroundings.
The painting is built through a direct, physical process without the use of brushes. This results in a surface that remains active: marks soften, edges dissolve and layers become visible depending on light and viewing distance.
Desert Modernism II is less about structure and more about perception. It captures a moment that feels in motion, where colour, surface and light interact over time.
As a large-scale work, it brings a quieter but immersive presence to a space, particularly in interiors where natural light can move across the surface throughout the day.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Lisette Schumacher
120 × 100 × 5 cm, 2026
Mixed Media
From the series Desert Modernism
Desert Modernism I is part of a series developed after Lisette Schumacher’s visit to Palm Springs and the Coachella Valley in early 2025. Central to this body of work is the iconic Frey House II, designed by Albert Frey.
Rather than depicting the architecture directly, Schumacher translates the experience of the house and its surroundings into colour, material and composition. The work reflects the tension that defines Desert Modernism: a precise architectural language set within a vast and unpredictable natural landscape.
The painting is built through a physical, hands-on process. Pigment is applied, shifted and reworked directly on the surface, without the use of brushes. This results in a layered image that changes subtly depending on light and viewing distance.
Warm desert tones - brittle bush yellow, sand, brown and muted orange - are set against cooler blues referencing sky and water. These contrasts echo the visual experience of the Coachella Valley, where snow-covered mountains meet a sunlit desert environment.
While rooted in a specific place, the work moves beyond architecture. It captures a spatial condition: being both inside and outside at once, where structure and openness exist in balance.
As a large-scale painting, Desert Modernism I holds a strong physical presence, particularly in spaces where light and architecture are part of the experience. Its surface continues to shift throughout the day.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Lisette Schumacher
50 × 35 × 0,8 cm, 2026
Mixed Media
Lisette Schumacher’s Arch series is based on the architectural form of the arch, a structure with origins in Roman engineering and later developments in Renaissance architecture.
In Arch III, this form is translated into a painting that carries a lighter presence. The curved format still defines the composition, but the softer tones allow the work to sit more quietly within a space, shifting the arch from a structural reference to a spatial gesture.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
Sculptures and paintings by Donald Schenkel
By Donald Schenkel
Oil on canvas
100 × 80 cm, 2026
Wooden frame included
Wandering Phantoms is part of Donald Schenkel's ongoing exploration of colour and atmosphere. Layers of soft violet, pink and warm yellow dissolve into one another, while subtle vertical forms emerge and disappear within the composition.
Rather than depicting a specific landscape or place, the painting balances between presence and absence. The image remains open, allowing associations with reflections, light or distant horizons without settling into a fixed interpretation.
Built up through numerous translucent layers of oil paint, the surface reveals different nuances throughout the day. The restrained palette and luminous centre give the work a calm yet radiant character.
Presented in a custom wooden frame, Wandering Phantoms brings together colour, light and subtle movement in a composition that rewards prolonged viewing.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Donald Schenkel
Oil on canvas
70 × 80 cm, 2026
Wooden frame included
No Clear Skies Ahead by Donald Schenkel is built from a concentrated blue field that shifts in density and depth. Vertical traces appear and dissolve within the surface, suggesting movement without fixed direction. The work holds a quiet tension between stillness and disruption, shaped through a controlled yet irreversible process.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Donald Schenkel
Oil on canvas
120 × 110 cm, 2026
Wooden frame included
Troika’s Dusk by Donald Schenkel is structured through a sequence of vertical forms emerging from a warm spectrum of red, orange and violet. The surface appears to shift between density and transparency, with colour moving across the canvas in a single, continuous layer. The composition suggests rhythm and repetition, without settling into a fixed structure.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Donald Schenkel
Oil on canvas
70 × 68 cm, 2026
Wooden frame included
No Clear Skies Ahead by Donald Schenkel is built from a concentrated blue field that shifts in density and depth. Vertical traces appear and dissolve within the surface, suggesting movement without fixed direction. The work holds a quiet tension between stillness and disruption, shaped through a controlled yet irreversible process.
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
Lucid Line by Donald Schenkel unfolds through a gradual shift from warm to cool tones, where colour moves from yellow and pink into blue. A single vertical line interrupts the surface, creating a sense of alignment and tension. The painting balances clarity and instability, with each transition revealing the immediacy of a single-layer process.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Donald Schenkel
Oil on canvas
130 × 80 cm, 2025
Wooden frame included
In Unexpected Visitor, Donald Schenkel explores the presence of something unfamiliar entering a space without announcement.
The painting unfolds through layered gradients of oil paint, applied wet-in-wet in a single, continuous process. From a distance, the surface appears smooth and atmospheric; up close, the texture of the canvas and the movement of the paint become visible.
Vertical traces rise through the composition, subtly interrupting the horizontal flow of colour. Rather than disrupting the image entirely, they introduce a sense of passage, as if something has moved through the space and left a temporary imprint.
The title suggests a quiet encounter rather than a disruption. In Schenkel’s practice, unpredictability is part of the process: colours interact, shift, and assert themselves beyond full control.
Unexpected Visitor reflects on transience, attention, and the way brief presences - in life as well as in material - can alter perception without fully revealing themselves.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Donald Schenkel
Oil on canvas
130 × 80 cm, 2025
Wooden frame included
In Unexpected Guest, Donald Schenkel explores the moment when an unforeseen presence enters an otherwise balanced system.
The painting unfolds through soft gradients of colour, created wet-in-wet in a single movement. From a distance, the surface appears smooth and almost immaterial; up close, the texture of the canvas and the physicality of oil paint become visible.
Subtle vertical shifts interrupt the horizontal flow of colour, introducing a quiet disturbance that alters the rhythm of the composition. What initially reads as calm and expansive gradually reveals a sense of ambiguity.
The title refers both to lived experience and to Schenkel’s painting process, in which chance plays an active role. Certain colours emerge unexpectedly, reshaping the work as it develops.
Unexpected Guest reflects on hospitality, vulnerability, and the way unforeseen encounters - in life and in material - can leave a lasting trace.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Donald Schenkel
Oil on paper
57 × 43 cm, 2025
Wooden frame included
“Last Shimmer” belongs to Donald Schenkel’s new Real World Renders series, created for Root Gallery’s 2025 programme.
Through this body of work, Schenkel continues his exploration of how light, colour, and material interact to shape perception. Painted in a single wet-in-wet layer, each work demands complete control and acceptance of unpredictability, gradients merge, pigments shift, and no correction is possible.
On paper, the delicacy of oil paint becomes even more pronounced. Subtle transitions unfold across the surface, suggesting a digital glow that remains grounded in pure material presence.
Framed in walnut, Last Shimmer evokes both warmth and contemplation, the final glimmer of daylight, suspended between certainty and change.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Donald Schenkel
57 x 32 cm, 2025
Oil paint on paper with walnut frame
In The Last Sunset (2025), Donald Schenkel captures the moment where day dissolves into night through the slow layering of oil paint. Working with a traditional glazing technique, he builds depth and luminosity without visible brushstrokes. The colour shift, from deep violet to warm orange and pale blue, evokes the lingering light of dusk, suspended between presence and disappearance.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Donald Schenkel
57 x 32 cm, 2024
Oil paint on paper with walnut frame
In Soft Green Twilight No. 2, Donald Schenkel works in a remarkably traditional way, layer by layer, with slow-drying oil paint that allows for subtle transitions and lasting depth. The surface may appear effortless, but it is the result of countless thin glazes and hours of drying time between each layer.
By working patiently and without digital tools, Schenkel continues a centuries-old painting tradition, using time itself as a material. The result is a sense of calm and precision that feels both timeless and contemporary.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Donald Schenkel
70 × 70 cm, 2024
Oil paint on synthetic canvas
Donald Schenkel's latest series explores the idea of paintings as screens, inspired by the seemingly digital character of the gradients. By suspending the works from the wall, they evoke the feel of computer screens. He draws on the historical shift in art from symbolic and spiritual meanings to alternate realities, which evolved further with the introduction of cinema, and digital screens.
As we grow up with digital screens, images are increasingly seen as generated, rather than physical objects. Schenkel questions if the same becomes true for paintings.Will future generations understand a painting as more than a screen-like image? His use of materials like thin sheets of paper highlights this tension, as what appears digital is, in fact, created using techniques that stem back from the early Renaissance.The perception of reality and the interpretation of the painting is changed by the material aspects of the object itself and how we view them in today’s day and age.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Donald Schenkel
51 × 37 cm, 2025
Oil on linen, on wood
In Donald Schenkel’s work, painting becomes a means to examine the tension between control and intuition, surface and depth. Through abstract compositions, he investigates how colour, form and material can suggest space without representing it, how a shift in texture or transparency can alter perception.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
Paintings by Saïd Kinos
By Saïd Kinos
70 × 60 cm, 2025
Acrylic, collage, epoxy, artist made frame
Over the past months, Saïd Kinos has been working on The GRIT Paintings, a new series that moves away from the clean, almost clinical aesthetic that defined much of his recent work. Instead, it brings back the raw energy of the street: layered posters, traces of graffiti, and the textures of the city.
For each piece, he collected street posters and billboard material as a base, building on them with hand-painted compositions in acrylics and house paint, detailed with pencil and sealed in epoxy resin. Even the frames are handmade, adding a personal and tactile edge to the works.
This series marks a new chapter in his practice, full of colour, texture, and the kind of imperfection that feels exactly right.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Saïd Kinos
70 × 60 cm, 2025
Acrylic, collage, epoxy, artist made frame
Over the past months, Saïd Kinos has been working on The GRIT Paintings, a new series that moves away from the clean, almost clinical aesthetic that defined much of his recent work. Instead, it brings back the raw energy of the street: layered posters, traces of graffiti, and the textures of the city.
For each piece, he collected street posters and billboard material as a base, building on them with hand-painted compositions in acrylics and house paint, detailed with pencil and sealed in epoxy resin. Even the frames are handmade, adding a personal and tactile edge to the works.
This series marks a new chapter in his practice, full of colour, texture, and the kind of imperfection that feels exactly right.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Saïd Kinos
70 × 60 cm, 2025
Acrylic, collage, epoxy, artist made frame
Clear Mind by Saïd Kinos is a layered exploration of clarity amidst chaos. Known for his typographic abstractions and graphic sensibility, Kinos blends collage, acrylic paint, and epoxy resin into a cohesive and emotionally resonant composition. At first glance, the work feels intuitive and energetic, but beneath the surface lies a deeply personal narrative.
Part of a new body of work where the artist reflects on themes such as fatherhood, balance, and inner stillness, Clear Mind offers a moment of contemplation. The meticulously poured epoxy gives the surface a glossy, while the layered imagery and text evoke the fleeting nature of thought and presence. Adding another layer of intention, the artist designed and built the frame himself, transforming the piece into a fully immersive object.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Saïd Kinos
70 × 60 cm, 2025
Acrylic, collage, epoxy, artist made frame
Over the past months, Saïd Kinos has been working on The GRIT Paintings, a new series that moves away from the clean, almost clinical aesthetic that defined much of his recent work. Instead, it brings back the raw energy of the street: layered posters, traces of graffiti, and the textures of the city.
For each piece, he collected street posters and billboard material as a base, building on them with hand-painted compositions in acrylics and house paint, detailed with pencil and sealed in epoxy resin. Even the frames are handmade, adding a personal and tactile edge to the works.
This series marks a new chapter in his practice, full of colour, texture, and the kind of imperfection that feels exactly right.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Saïd Kinos
100 x 80 cm, 2024
Acrylic on linen
Saïd Kinos is fascinated by the ways in which people communicate through language, symbols and changing technologies. The high speed in which information is presented to us, and with it the transience of our modern forms of communication, is a common denominator in all his work. Meanwhile, subjective associations and differing contexts can alter the reception of words and messages. In this, Saïd finds an element of abstraction which he explores through high-contrast, vibrant colour combinations and fragmented typography. Taking visual elements from anywhere he can find and recomposing them in a way to make them his own, Saïd creates his own reconstructed versions of reality through paintings, installations, and large (public) murals.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Saïd Kinos
100 x 80 cm, 2024
Acrylic and oil pastel on linen
"The Perpetual Present" by Saïd Kinos is a striking example of the artist's exploration of language and visual communication. This painting embodies Kinos' unique approach to art, where typography and abstraction intertwine to create a complex narrative that is open to interpretation. Using vibrant colors and fragmented forms, Kinos challenges the viewer to find personal meaning in the work, much like one would with abstract art. The text elements, though legible, evoke different associations and emotions depending on the viewer’s individual context, making each encounter with the painting a unique experience.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Saïd Kinos
60 x 140 cm, 2023
Acrylic on linen
Saïd Kinos is fascinated by the ways in which people communicate through language, symbols and changing technologies. The high speed in which information is presented to us, and with it the transience of our modern forms of communication, is a common denominator in all his work. Meanwhile, subjective associations and differing contexts can alter the reception of words and messages. In this, Saïd finds an element of abstraction which he explores through high-contrast, vibrant colour combinations and fragmented typography. Taking visual elements from anywhere he can find and recomposing them in a way to make them his own, Saïd creates his own reconstructed versions of reality through paintings, installations, and large (public) murals.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped
Paintings by Karen van de Vliet
By Karen van de Vliet
85 × 65 cm, 2026
Mixed Acrylic paint on cotton, framed
In Translucent VIII, Karen van de Vliet uses pale blue, white and soft pink to create a composition that feels calm yet vibrant. Transparent layers overlap with bold lines and textured passages, allowing colour to appear suspended within the work. The combination of movement and stillness gives the painting a strong architectural presence while maintaining a sense of openness.
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 VII by Karen van de Vliet combines subtle pastel colours with darker elements and transparent layers. The composition reveals itself gradually, with areas of pink, cream, black and vivid accents emerging from beneath the surface. The work reflects the artist's ongoing interest in transparency and material, resulting in a painting with both presence and restraint.
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 VI, Karen van de Vliet works with luminous colours and transparent layers that reveal traces of movement and gesture. Areas of soft pink, lavender, yellow and black are brought together within a composition that feels open and spacious. The work occupies a place between painting and object, inviting the viewer to look closely at the relationship between colour, texture and light.
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
Karen van de Vliet created Translucent IV as a balance between softness and contrast. Transparent layers surround areas of lilac, blue, pink and black, while strong vertical lines introduce rhythm to the composition. The tactile surface gives the work a sculptural quality, allowing colour to appear almost suspended within the material. The painting changes character throughout the day as light interacts with its layered surface.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
Sculptures and wall sculptures by Quinda Verheul
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 Quinda Verheul
80 x 40 x 30 cm, 2021
Serpentine Opal, rose coloured mirror
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.
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 Quinda Verheul
50 × 40, 2024
Rose and ochre concrete on rose mirror
Quinda Verheul immerses herself in the constantly changing landscapes and the influence that humans have on them. She is fascinated by natural forces like wind, water and sunlight, and often addresses grand topics like the exploitation of natural resources which alter the landscape. Yet, there are different aspects to the same topic which Quinda explores in different series. This is reflected in her use of raw, earthy materials such as sand and natural stone. Mirrors form a returning metaphorical element in her sculptures and installations which invite spectators to reflect on themselves while simultaneously exploring different perspectives. The results are unique aesthetic translations which are able to present new confrontational information within a certain comfort.
Delivery in the Netherlands and Belgium is complimentary and arranged with care, either in person or via secure shipment.
By Quinda Verheul
50 × 40, 2024
Sandblasting in rose mirror
“Noctilucent” by Quinda Verheul is a contemporary, minimalistic wall sculpture crafted through sandblasting techniques that modify the surface of a mirror. The sandblasting process disperses minuscule particles, transforming the reflective quality of the mirror into a misty, almost ephemeral surface. This altered state creates an atmosphere of quiet subtlety, inviting viewers to experience a sensory shift in perception.
The piece is inspired by natural phenomena that blend simplicity and splendor, a sunset in a mountainous desert where a lone cloud catches the light, glowing against a vast sky. “Noctilucent” distills this moment, drawing on the idea that through selective framing, even the most transient details of nature can evoke an artful composition. The artwork emphasizes how minimal visual cues can resonate deeply, echoing the interplay between the tangible and the abstract.
Delivery in the Netherlands and Belgium is complimentary and arranged with care, either in person or via secure shipment.
By Quinda Verheul
50 × 40, 2024
Sandblasting on blue mirror
“Noctilucent” by Quinda Verheul is a contemporary, minimalistic wall sculpture crafted through sandblasting techniques that modify the surface of a mirror. The sandblasting process disperses minuscule particles, transforming the reflective quality of the mirror into a misty, almost ephemeral surface. This altered state creates an atmosphere of quiet subtlety, inviting viewers to experience a sensory shift in perception.
This artwork from the Noctilucent series captures the quiet elegance of moonlight as it gently illuminates clouds against the dark sky. The minimalist approach emphasizes the subtle interaction between light and shadow, evoking a sense of tranquility and timelessness. The deep, rich tones and smooth surface invite viewers to reflect on the beauty of night skies and the elusive, fleeting nature of nocturnal light. This piece aims to create a serene and contemplative space, encouraging a moment of stillness and introspection.
Delivery in the Netherlands and Belgium is complimentary and arranged with care, either in person or via secure shipment.
By Quinda Verheul
60 × 30, 2024
Rose mirror and mixed concrete
This piece from Islands In The Sky by Quinda Verheul captures the essence of open landscapes, drawing color inspiration from the ochres and pinks of the Moroccan desert and mountains. The warm, earthy hues echo the vivid tones found in these rugged terrains, where the sun-bleached sands and weathered stones radiate life. Being in these vast, untamed spaces gives my mind room to wander, where thoughts drift like clouds across the horizon. The organic shapes and soft colors reflect moments spent outdoors, where I feel most connected to the earth and my own instincts, exposed yet entirely at peace. These works are a celebration of nature’s grounding warmth and the profound clarity it offers.
Delivery in the Netherlands and Belgium is complimentary and arranged with care, either in person or via secure shipment.
By Quinda Verheul
60 × 40, 2024
Rose mirror and mixed concrete
The Between the Desert and the Ocean series at Root Gallery delves into the balance between two vast, contrasting landscapes, capturing the essence of Morocco's Atlas Mountains. Using concrete mixed with magenta and ochre pigments, each piece is carefully layered on a rose-tinted oval mirror, achieving a tactile, almost geological quality that mirrors the rugged textures of desert and mountain. The mirror introduces an ethereal quality, reminiscent of the ocean’s expanse and its reflective depth. This fusion of raw concrete and delicate mirror creates a harmonious duality - where earthy tones meet fluid, reflective surfaces - inviting viewers to reflect on the connections between land and sea, solidity and fluidity. The Between the Desert and the Ocean series presents a unique, contemplative experience, blending landscape-inspired materials and textures with an elegant, modern twist.
Delivery in the Netherlands and Belgium is complimentary and arranged with care, either in person or via secure shipment.
By Quinda Verheul
100 x 75, 2024
Blue coloured mirror and concrete
From the series Celestial Mountains
Inspired by her journey to Kyrgyzstan, and her experience of the enigmatic landscapes, Quinda Verheul unveils a poetic odyssey through Kok-Ayryk; named after the 3883 metres mountain pass in the Tian Shan mountains. Memories of day and night are combined in pink and blue mirrors, with the concrete lines becoming silhouettes of the mountainous terrain, forming a ballet of reflections that can only be experienced when viewing the work in real life. Concrete edges embody the struggle against the mountain's stoic surface, a testament to the complexities of nature, and the challenging journey in the thin air.
Kok-Ayryk embodies her journey through the mountains; a crisp road tracing a wild river, where clouds converge and drizzle adorns reflections. Landslides and the endless stream of rocks that cover the path form fascinating landscapes, with red and pink stones taking centre stage. As the series unfolds, clouds part, revealing a cerulean sky. The mirrors turn into a mountainous backdrop, capturing the red mountains and glaciers. As the sun sets, the sky darkens, captured in the deep blue of night.
Delivery in the Netherlands and Belgium is complimentary and arranged with care, either in person or via secure shipment.
By Quinda Verheul
100 x 75, 2024
Blue coloured mirror and concrete
From the series Celestial Mountains
Inspired by her journey to Kyrgyzstan, and her experience of the enigmatic landscapes, Quinda Verheul unveils a poetic odyssey through Kok-Ayryk; named after the 3883 metres mountain pass in the Tian Shan mountains. Memories of day and night are combined in pink and blue mirrors, with the concrete lines becoming silhouettes of the mountainous terrain, forming a ballet of reflections that can only be experienced when viewing the work in real life. Concrete edges embody the struggle against the mountain's stoic surface, a testament to the complexities of nature, and the challenging journey in the thin air.
Kok-Ayryk embodies her journey through the mountains; a crisp road tracing a wild river, where clouds converge and drizzle adorns reflections. Landslides and the endless stream of rocks that cover the path form fascinating landscapes, with red and pink stones taking centre stage. As the series unfolds, clouds part, revealing a cerulean sky. The mirrors turn into a mountainous backdrop, capturing the red mountains and glaciers. As the sun sets, the sky darkens, captured in the deep blue of night.
Delivery in the Netherlands and Belgium is complimentary and arranged with care, either in person or via secure shipment.
By Quinda Verheul
100 x 75, 2024
Rose mirror and mixed concrete
This work by Quinda Verheul results from her experiences in Kyrgyzstan where she rode the Tian Shan mountains for 1900 kilometers. Tian Shan is a large system of mountains in Central Asia that can be translated to Celestial Mountains. Being in the midst of the landscape, experiencing the mountains, the different weather conditions, the site at night and seeing celestial bodies shine, enhances her fascination for the landscape. Immersing herself in the natural environment is essential to her being and inextricably reflected in her practice.
Delivery in the Netherlands and Belgium is complimentary and arranged with care, either in person or via secure shipment.
By Quinda Verheul
100 x 75, 2024
Blue coloured mirror and concrete
From the series Celestial Mountains
Inspired by her journey to Kyrgyzstan, and her experience of the enigmatic landscapes, Quinda Verheul unveils a poetic odyssey through Kok-Ayryk; named after the 3883 metres mountain pass in the Tian Shan mountains. Memories of day and night are combined in pink and blue mirrors, with the concrete lines becoming silhouettes of the mountainous terrain, forming a ballet of reflections that can only be experienced when viewing the work in real life. Concrete edges embody the struggle against the mountain's stoic surface, a testament to the complexities of nature, and the challenging journey in the thin air.
Kok-Ayryk embodies her journey through the mountains; a crisp road tracing a wild river, where clouds converge and drizzle adorns reflections. Landslides and the endless stream of rocks that cover the path form fascinating landscapes, with red and pink stones taking centre stage. As the series unfolds, clouds part, revealing a cerulean sky. The mirrors turn into a mountainous backdrop, capturing the red mountains and glaciers. As the sun sets, the sky darkens, captured in the deep blue of night.
Delivery in the Netherlands and Belgium is complimentary and arranged with care, either in person or via secure shipment.
Paintings by Jan Kuhlemeier
By Lisette Schumacher
30 × 25 x 6 cm, 2026
Mixed media
From the series Coachella views
Coachella Views XVIII brings together peach, coral and lavender in a light, open composition. The colours follow a flowing diagonal movement, leading towards a pale golden area on the right. Smaller lilac and coral forms gather around this opening, creating a point of focus within the otherwise expansive arrangement.
Lisette Schumacher based the series on the fleeting colour shifts she observed while travelling through Palm Springs and the surrounding desert cities. In this work, that experience is expressed with particular softness. Warm and cool tones move easily alongside one another, giving the artwork an elegant balance. Its intimate scale allows the nuances of the composition to be experienced from close range.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.