Collect & Connect | Pop-up weekend in Rotterdam
Before we open the doors to our new space, Root Gallery returns one last time to the city where it all began.
In preparation for the final stage of renovation, our gallery space must be completely cleared: which means no viewings for a short while. But instead of going quiet, we’ve decided to do the opposite: to come together, celebrate art, and see each other once more in our beloved Rotterdam.
Of second edition of ‘Collect & Connect’ is a pop-up weekend dedicated to art, conversation and community.
Spread across three days, the event offers an intimate setting to discover new works by Root Gallery’s represented artists - emerging and mid-career painters, sculptors and photographers - each presenting unique pieces that reflect their current studio practice. The presentation offers a glimpse into what many of them have been working on over the past months: from new material explorations to the first outlines of upcoming series.
Donald Schenkel presents a new series of small paintings - his first since 2022 - capturing subtle shifts in light and texture. Karen van de Vliet shows her newest Poppy works, continuing her exploration of colour and gesture. Jan Theun van Rees is represented with pieces from his Painted Room series, documenting spatial transformations through layers of paint and photography. Freerk Wilbers brings a selection of glass sculptures that play with transparency and reflection, while Lisette Schumacher presents her latest series Sunrise at Griffith, inspired by the morning light in Los Angeles.
All of the artists represented by the gallery will join the event.
Together, these works offer a look into the different directions and material approaches that shape Root Gallery’s current programme.
All artworks are priced at €1,500 and below, including smaller works, unique pieces, and photography in limited editions. The presentation gives a glimpse of what our artists have been developing over the past months, from new materials to new ideas.
Join us for a drink during the opening evening on Friday 24 October (18:00–21:00), or visit during the weekend (Saturday and Sunday, 12:00–18:00) to explore the presentation at your own pace.
The atmosphere will be informal, personal and welcoming, just as our gallery has always been.
By Jan Theun van Rees
50 × 40 cm, ed. 3/5, 2025
Pigment ink on bright white Photorag mounted on museum board, framed with spacer and UV70 museum glass. Also available 115 × 91,5 cm, ed 3.
This work is part of the series Painted Room
With his art, Jan Theun van Rees focuses on the appearance of space as an image, the perception of that (visualised) space in relation to the space that surrounds us. Through his photographs he tries to visualise the specific qualities of those spaces. “Camera Lucida” is the catch-all term for all his artistic projects that try to visualise a connection between (interior) spaces and the outside world through incoming light. He intervenes in the space, manipulates the incoming light, to emphasise the spatial qualities he experiences. These interventions have become essential to his current practice. He constructs his own spaces, his own versions of a new, not yet existing reality. A certain spatial quality is visualised by constructing a space with the sole purpose to photograph the result.
In his new series Painted Room you can step into a new reality and become mesmerised by the rays of light, colourful surroundings and mystic shadows.
Shipping within the Netherlands and Belgium is on us.
By Jan Theun van Rees
55 × 40 cm, ed. 5, 2025
Pigment ink on bright white Photorag mounted on museum board, framed with spacer and UV70 museum glass
This work is part of the series Painted Room
Wintergarden by Dutch artist Jan Theun van Rees continues his exploration of constructed spaces within the Painted Room series. Each work begins as a temporary environment, built, painted, and lit solely to be photographed, then dismantled afterwards.
In this piece, cool tones of blue, grey, and earthy brown merge across painted paper walls, evoking the quiet atmosphere of a winter interior. The folds and shadows suggest architectural depth while remaining entirely painterly.
Through this process, Van Rees turns photography into an act of creation rather than documentation. The result is a meditative image where light, surface, and perception converge, a space that exists only in the moment of being seen.
Shipping within the Netherlands and Belgium is on us.
By Jan Theun van Rees
125 × 76 cm, ed. 3, 2025
Pigment ink on bright white Photorag mounted on museum board, framed with spacer and UV70 museum glass
This work is part of the series Painted Room
In Dented Space, Dutch artist Jan Theun van Rees continues his Painted Room series, in which photography, painting, and architecture merge. The space we see does not truly exist, it is a temporary construction, built and painted solely to be photographed, and dismantled immediately afterwards.
This work captures the momentary play of light across hand-painted fabric walls. The folds and textures suggest both depth and fragility, transforming a constructed scene into something that feels organic and timeless.
Van Rees’s practice explores the perception of space and how light defines form. By painting his environments and then photographing them, he turns the act of observation itself into an artistic process, where what remains is not documentation, but transformation.
Shipping within the Netherlands and Belgium is on us.
By Jan Theun van Rees
110 × 80 cm, edition 2/3 + 1 AP , 2025
Pigment inkt, op Innova Photorag bright white, op 2 mm museumkarton ‘White Wash’Wenge Veneer with UV 70 Museumglass
(Also available in 40 × 55 cm, edition 2/5)
This work is part of the series Painted Room
In Scrambled Morninglight, Jan Theun van Rees constructs a space where colour, light, and architecture dissolve into pure perception. This large-format work—part of his Painted Room series, is not a depiction of an existing room, but a spatial invention, built solely to explore how light transforms constructed surfaces into image.
The composition is animated by layered tones of red, with flashes of purple, orange, and yellow that appear to scatter like fragments of morning light. The title references both the time of day and the fragmented way in which light and colour are perceived and remembered.
As with all works in the Painted Room series, this space never existed until Van Rees built and photographed it. It is a visual proposition: a way of thinking through architecture, photography, and the physical presence of colour in space.
Shipping within the Netherlands and Belgium is on us.
By Jan Theun van Rees
50 × 40 cm, edition 1/3 + 1 AP , 2025
Pigment ink on Innova Photorag bright white, mounted on 4 mm museum board
Framed in ‘White Wash’ veneer with spacers and UV70 museum glass
(Also available in 25 x 20 cm, edition 10)
This work is part of the series Painted Room
With Red Room, Jan Theun van Rees continues his exploration of how space is perceived and constructed on the flat picture plane. The work is part of the Painted Room series, in which he intuitively builds and photographs entirely constructed environments.
Red Room exists solely to be photographed, a new, not-yet-existing reality created to express a particular spatial quality. The deep red appears to fill the room like a tangible presence, shaped by light and composition.
As in much of his recent work, Van Rees blurs the line between documentation and invention. Red Room invites the viewer to question what space is, how it comes into being, and the role perception plays in its formation.
Shipping within the Netherlands and Belgium is on us.
By Jan Theun van Rees
55 × 40 cm, edition 2/5 + 1 AP , 2025
Pigment ink on acid free Innova Soft Textured Bright White - pale wenge wood veneer frame (Nielsen) with Museumglass (UV70)
This work is part of the series Painted Room
In View 1, Jan Theun van Rees constructs a compact, enigmatic space where colour and form suggest more than they reveal. Dominated by deep red tones and punctuated by a single yellow accent, the composition centres around a closed, door-like shape, evoking a sense of tension, as if access is denied or postponed.
Part of the Painted Room series, this image captures a space that exists solely for the camera. It is not a record of reality, but a visual proposition: a space that teases the eye and mind with the suggestion of passage, yet keeps its interior sealed.
View 1 plays with perception, inviting contemplation of what remains hidden just behind the surface.
Shipping within the Netherlands and Belgium is on us.
By Jan Theun van Rees
55 × 40 cm, edition 2/5 + 1 AP , 2025
Pigment ink on acid free Innova Soft Textured Bright White - pale wenge wood veneer frame (Nielsen) with Museumglass (UV70)
This work is part of the series Painted Room
In View 2, Jan Theun van Rees continues his exploration of constructed spaces that exist solely to be photographed. Rich red tones dominate the composition, while subtle blue and yellow accents add a sense of spatial tension and visual rhythm.
At the centre, a door-like shape appears slightly ajar, unlike the closed form in View 1. This small shift opens up a new narrative: a hint of access, a glimpse of what might lie beyond.
As with all works in the Painted Room series, View 2 is a visual proposition, suggesting space, movement and meaning through colour, light, and geometry alone.
Shipping within the Netherlands and Belgium is on us.
By Jan Theun van Rees
25 x 20 cm, ed. 5/10, 2024
Archival pigment ink on Innova ”Soft Textured BrightWhite Photorag” with nutwood frame and museumglass
This work is part of the series Painted Room
With his art, Jan Theun van Rees focuses on the appearance of space as an image, the perception of that (visualised) space in relation to the space that surrounds us. Through his photographs he tries to visualise the specific qualities of those spaces. “Camera Lucida” is the catch-all term for all his artistic projects that try to visualise a connection between (interior) spaces and the outside world through incoming light. He intervenes in the space, manipulates the incoming light, to emphasise the spatial qualities he experiences. These interventions have become essential to his current practice. He constructs his own spaces, his own versions of a new, not yet existing reality. A certain spatial quality is visualised by constructing a space with the sole purpose to photograph the result.
In his new series Painted Room you can step into a new reality and become mesmerised by the rays of light, colourful surroundings and mystic shadows.
Shipping within the Netherlands and Belgium is on us.
By Sophie de Vos
40 x 30 cm, ed. 3/5, 2025
Hahnemuhle, framed in black, museumglass
From the series Fragments of Clarity
The word ‘reflecting’ carries dual meanings; it can refer to an actual reflection — seeing an image mirrored in a glossy surface like glass — or it can describe the process of deep, thoughtful contemplation.
This photographic series by Sophie de Vos intertwines both interpretations, exploring the intersection between the literal and metaphorical aspects of reflection. In this series, Sophie incorporates glass as a physical and conceptual layer over her subjects, manipulating its positioning to create dynamic visual distortions. By alternating and playing with these layers, she raises profound questions about perception: When we look at something, are we truly seeing it as it is, or are we viewing it through the complex prism of our own experiences, biases, and emotions? Sophie challenges the viewer to consider the nature of clarity itself, suggesting that true understanding may be filtered and refracted by the lenses through which we observe the world.
Through this blending of visual and philosophical reflection, the series becomes not just a study of surfaces and subjects, but a deeper inquiry into the limits of perception and understanding.
Shipping within the Netherlands and Belgium is on us.
By Sophie de Vos
40 x 30 cm, ed. 1/5, 2024
Hahnemuhle, framed in black, museumglass
For this work, Sophie de Vos was inspired by the found of her late grandmother's nightgown. Although she never saw her grandmother in this nightgown, she was confronted with a nostalgic sense of familiarity beyond comprehension.
While capturing this intimate image, she noticed an intriguing play of light on the surface of the fabric which shifted her mind to other eras. The abundance of swirling fabrics with beautiful light and shadow areas in paintings from the Renaissance and the fabric draped elegantly over the floor in Roman sculptures. Sophie was fascinated by the ways in which well-known references from our collective visual memory could coincide with the little nostalgic memory her grandmother's nightgown evoked.
Shipping within the Netherlands and Belgium is on us.
By Sophie de Vos
40 x 30 cm, ed. 3/5, 2024
Hahnemuhle, framed in black, museumglass
From the series Fragments of Clarity
The word ‘reflecting’ carries dual meanings; it can refer to an actual reflection — seeing an image mirrored in a glossy surface like glass — or it can describe the process of deep, thoughtful contemplation.
This photographic series by Sophie de Vos intertwines both interpretations, exploring the intersection between the literal and metaphorical aspects of reflection. In this series, Sophie incorporates glass as a physical and conceptual layer over her subjects, manipulating its positioning to create dynamic visual distortions. By alternating and playing with these layers, she raises profound questions about perception: When we look at something, are we truly seeing it as it is, or are we viewing it through the complex prism of our own experiences, biases, and emotions? Sophie challenges the viewer to consider the nature of clarity itself, suggesting that true understanding may be filtered and refracted by the lenses through which we observe the world.
Through this blending of visual and philosophical reflection, the series becomes not just a study of surfaces and subjects, but a deeper inquiry into the limits of perception and understanding.
Shipping within the Netherlands and Belgium is on us.
By Sophie de Vos
40 x 30 cm, ed. 1/5, 2024
Hahnemuhle, framed in black, museumglass
From the series Fragments of Clarity
The word ‘reflecting’ carries dual meanings; it can refer to an actual reflection — seeing an image mirrored in a glossy surface like glass — or it can describe the process of deep, thoughtful contemplation.
This photographic series by Sophie de Vos intertwines both interpretations, exploring the intersection between the literal and metaphorical aspects of reflection. In this series, Sophie incorporates glass as a physical and conceptual layer over her subjects, manipulating its positioning to create dynamic visual distortions. By alternating and playing with these layers, she raises profound questions about perception: When we look at something, are we truly seeing it as it is, or are we viewing it through the complex prism of our own experiences, biases, and emotions? Sophie challenges the viewer to consider the nature of clarity itself, suggesting that true understanding may be filtered and refracted by the lenses through which we observe the world.
Through this blending of visual and philosophical reflection, the series becomes not just a study of surfaces and subjects, but a deeper inquiry into the limits of perception and understanding.
Shipping within the Netherlands and Belgium is on us.
By Sophie de Vos
40 x 30 cm, ed. 3/5, 2024
Hahnemuhle, framed in black, museumglass
For this work, Sophie de Vos was inspired by the found of her late grandmother's nightgown. Although she never saw her grandmother in this nightgown, she was confronted with a nostalgic sense of familiarity beyond comprehension.
While capturing this intimate image, she noticed an intriguing play of light on the surface of the fabric which shifted her mind to other eras. The abundance of swirling fabrics with beautiful light and shadow areas in paintings from the Renaissance and the fabric draped elegantly over the floor in Roman sculptures. Sophie was fascinated by the ways in which well-known references from our collective visual memory could coincide with the little nostalgic memory her grandmother's nightgown evoked.
Shipping within the Netherlands and Belgium is on us.
By Sophie de Vos
40 x 30 cm, ed. 2/5, 2024
Hahnemuhle, framed in black, museumglass
For this work, Sophie de Vos was inspired by the found of her late grandmother's nightgown. Although she never saw her grandmother in this nightgown, she was confronted with a nostalgic sense of familiarity beyond comprehension.
While capturing this intimate image, she noticed an intriguing play of light on the surface of the fabric which shifted her mind to other eras. The abundance of swirling fabrics with beautiful light and shadow areas in paintings from the Renaissance and the fabric draped elegantly over the floor in Roman sculptures. Sophie was fascinated by the ways in which well-known references from our collective visual memory could coincide with the little nostalgic memory her grandmother's nightgown evoked.
Shipping within the Netherlands and Belgium is on us.
By Jan Theun van Rees
70 x 50 cm, ed. 1/5, 2024
Archival pigment ink on Innova ”Soft Textured BrightWhite Photorag” with nutwood frame and museumglass
This work is part of the series Painted Room
With his art, Jan Theun van Rees focuses on the appearance of space as an image, the perception of that (visualised) space in relation to the space that surrounds us. Through his photographs he tries to visualise the specific qualities of those spaces. “Camera Lucida” is the catch-all term for all his artistic projects that try to visualise a connection between (interior) spaces and the outside world through incoming light. He intervenes in the space, manipulates the incoming light, to emphasise the spatial qualities he experiences. These interventions have become essential to his current practice. He constructs his own spaces, his own versions of a new, not yet existing reality. A certain spatial quality is visualised by constructing a space with the sole purpose to photograph the result.
In his new series Painted Room you can step into a new reality and become mesmerised by the rays of light, colourful surroundings and mystic shadows.
Shipping within the Netherlands and Belgium is on us.
By Jan Theun van Rees
60 x 30 cm, ed. 2/5, 2024
Archival pigment ink on Innova ”Soft Textured BrightWhite Photorag” and nutwood frame with museumglass
With his art, Jan Theun van Rees focuses on the appearance of space as an image, the perception of that (visualised) space in relation to the space that surrounds us. Through his photographs he tries to visualise the specific qualities of those spaces. “Camera Lucida” is the catch-all term for all his artistic projects that try to visualise a connection between (interior) spaces and the outside world through incoming light. He intervenes in the space, manipulates the incoming light, to emphasise the spatial qualities he experiences. These interventions have become essential to his current practice. He constructs his own spaces, his own versions of a new, not yet existing reality. A certain spatial quality is visualised by constructing a space with the sole purpose to photograph the result.
In his new series Painted Room you can step into a new reality and become mesmerised by the rays of light, colourful surroundings and mystic shadows.
Shipping within the Netherlands and Belgium is on us.
By Jan Theun van Rees
25 x 20 cm, ed. 1/10, 2024
Archival pigment ink on Innova ”Soft Textured BrightWhite Photorag” with nutwood frame and museumglass
This work is part of the series Painted Room
With his art, Jan Theun van Rees focuses on the appearance of space as an image, the perception of that (visualised) space in relation to the space that surrounds us. Through his photographs he tries to visualise the specific qualities of those spaces. “Camera Lucida” is the catch-all term for all his artistic projects that try to visualise a connection between (interior) spaces and the outside world through incoming light. He intervenes in the space, manipulates the incoming light, to emphasise the spatial qualities he experiences. These interventions have become essential to his current practice. He constructs his own spaces, his own versions of a new, not yet existing reality. A certain spatial quality is visualised by constructing a space with the sole purpose to photograph the result.
In his new series Painted Room you can step into a new reality and become mesmerised by the rays of light, colourful surroundings and mystic shadows.
Shipping within the Netherlands and Belgium is on us.
About Root Gallery
Root Gallery represents a group of contemporary artists working across painting, sculpture, and photography. With a focus on long-term collaboration, the gallery supports both emerging and mid-career artists in developing ambitious new work and sharing it with a broad audience.
Through exhibitions, art fairs, and public events, Root Gallery aims to create meaningful connections between artists and collectors, built on trust, time, and genuine engagement.
Location & Access
The pop-up takes place at De Achtertuin, Oostzeedijk 108, Rotterdam.
Easily accessible by tram and only a short walk from the city centre.
Paid parking is available along Oostzeedijk and surrounding streets.
By Vera Klaus
40 × 30 cm, 2026
Mixed media on cotton, framed
Zartes Erblühen (Gentle Blooming) is a mixed media painting by Vera Klaus created in 2026. The work combines vivid colour with spontaneous gestures on raw canvas, where bright pink, orange, green and black paint marks move freely across the surface.
Splashes, drips and soft brushstrokes interact with areas where the canvas remains visible, allowing the material qualities of the painting to stay present. Rather than depicting a specific subject, the composition unfolds through rhythm, colour and movement..
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Vera Klaus
40 × 30 cm, 2026
Mixed media on cotton, framed
Bunte Frische (Colourful Freshness) is a mixed media painting by Vera Klaus created in 2026. The work combines vivid colour with spontaneous gestures on raw canvas, where bright neon green, orange, purple and pink paint marks move freely across the surface.
Splashes, drips and soft brushstrokes interact with areas where the canvas remains visible, allowing the material qualities of the painting to stay present. Rather than depicting a specific subject, the composition unfolds through rhythm, colour and movement..
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Lisette Schumacher
30 × 40 × 5 cm, 2025
Mixed media
From the series Sunrise at Griffith
In Sunrise at Griffith, Lisette Schumacher captures the quiet beauty of early mornings in Los Angeles. Inspired by the light surrounding Griffith Observatory, this series features soft compositions in pale pinks, yellows, and muted blues. The works invite viewers to pause and experience a fleeting moment of calm – a gentle beginning to a city that rarely rests.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Lisette Schumacher
30 × 40 × 5 cm, 2025
Mixed media
From the series Sunrise at Griffith
In Sunrise at Griffith, Lisette Schumacher captures the quiet beauty of early mornings in Los Angeles. Inspired by the light surrounding Griffith Observatory, this series features soft compositions in pale pinks, yellows, and muted blues. The works invite viewers to pause and experience a fleeting moment of calm – a gentle beginning to a city that rarely rests.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Lisette Schumacher
30 × 40 × 5 cm, 2025
Mixed media
From the series Sunrise at Griffith
Lisette Schumacher is known for her translations of modernist architecture into layered, spatial works. Using transparent boxes as her canvas, she builds up layers of acrylic paint to create a distinctive play of light, colour, and depth.
Following her earlier series View on Sunset, inspired by the colours and lines of mid-century modern architecture in Los Angeles, she now presents her latest body of work: Sunrise at Griffith. This new series focuses on the early morning light surrounding the iconic Griffith Observatory. Painted in exceptionally soft tones – delicate gradients of pale yellow, lavender, and dusty pink – the works evoke the quiet atmosphere of a city just beginning to wake.
As always, the plexiglass enhances the transparency and layering in her work, turning each piece into a moment suspended in time and space. With Sunrise at Griffith, Lisette invites viewers to pause and take in the ephemeral beauty of a new day unfolding.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Lisette Schumacher
30 × 40 × 5 cm, 2025
Mixed media
From the series Sunrise at Griffith
In Sunrise at Griffith, Lisette Schumacher captures the quiet beauty of early mornings in Los Angeles. Inspired by the light surrounding Griffith Observatory, this series features soft compositions in pale pinks, yellows, and muted blues. The works invite viewers to pause and experience a fleeting moment of calm – a gentle beginning to a city that rarely rests.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Vera Klaus
40 × 40 cm, 2025
Mixed media on cotton, framed
Glitzerpunkt (Sparkling Point) is a 40 × 40 cm abstract painting by Vera Klaus, created with acrylic, spray paint and chalk. This compact work captures a fleeting flash of joy, like light catching on something unexpected.
With her layered textures and intuitive gestures, Vera gives form to emotion and energy. The small format invites an intimate encounter, while the title hints at the spontaneity and brightness at the heart of the piece. Glitzerpunkt offers a quiet celebration of life's small, shining moments.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Lisette Schumacher
30 × 25 × 4 cm, 2024
Mixed media
From the series View On Sunset
The View on Sunset series reflects Lisette Schumacher’s deep connection with mid-century modern architecture and the captivating sunsets of Los Angeles. Lisette’s interest lies in the idea that architecture engenders a basic physical experience prior to also initiating an intellectual interpretation. By observing the location intensely and moving through each room repeatedly, she can both experience the space in a physical way and interpret it intellectually. After studying the site's history and architect, a period of in-depth research into technique, material and colour schemes follows. This results in a series of works that reflect on the site's atmosphere, history and its design.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Lisette Schumacher
30 × 25 × 4 cm, 2024
Mixed media
From the series View On Sunset
The View on Sunset series reflects Lisette Schumacher’s deep connection with mid-century modern architecture and the captivating sunsets of Los Angeles. Lisette’s interest lies in the idea that architecture engenders a basic physical experience prior to also initiating an intellectual interpretation. By observing the location intensely and moving through each room repeatedly, she can both experience the space in a physical way and interpret it intellectually. After studying the site's history and architect, a period of in-depth research into technique, material and colour schemes follows. This results in a series of works that reflect on the site's atmosphere, history and its design.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Jan Theun van Rees
110 × 55 cm, ed. 3, 2025
Pigment ink on bright white Photorag mounted on museum board, framed with spacer and UV70 museum glass
This work is part of the series Painted Room
In Moonlit Corner, Jan Theun van Rees captures the quiet interplay between colour, light and constructed space. Created within his ongoing Painted Room series, the work depicts a temporary environment built and painted specifically for the photograph, a space that ceases to exist once the image is made.
Here, bands of deep blue and warm orange fabric interact with the cool grey tones of the floor, illuminated by a soft, angled light. The composition evokes both architecture and abstraction, balancing material presence with a sense of illusion.
Van Rees explores how light transforms painted surfaces into something ephemeral. Through this process, he turns photography into a form of painting, where each image becomes a moment of stillness, shaped entirely by colour and perception.
Shipping within the Netherlands and Belgium is on us.