Opening: Where Light Lands

In April, Root Gallery resumes its exhibition programme in the gallery space. We warmly invite you to join us on Friday 11 April from 15:00 to 18:00 for the opening of Where Light Lands.

Over the past years, the gallery has remained active through art fairs such as Art Rotterdam, Enter Art Fair and PAN Amsterdam, alongside strong collaborations and presentations beyond our own walls. That momentum continues. At the same time, it now finds its place again within the gallery itself.

In 2026, five exhibitions will take shape here. Throughout the year, all represented artists will be part of the programme. The space will continue to evolve with each presentation, something we are looking forward to exploring together.
From April onwards, the gallery will no longer be open by appointment only. You are welcome every Friday and Saturday afternoon to step inside.

On the ground floor, the main exhibition unfolds, with one dedicated wall reserved for Invitation, a new format within the programme that introduces guest artists into dialogue with the gallery. The first invited artist is Anna Oudhof. Downstairs, works by all represented artists remain on view.

Close up of a painting by Donald Schenkel

The exhibition grows from a shared sensitivity to material and light, and to how work behaves in space. The gallery is not treated as a neutral container. Throughout the day, daylight shifts across the floor and walls. Pigments respond differently in the morning than in the late afternoon. Bronze absorbs brightness, then releases it again. What you see changes depending on where you stand.

Nothing here shouts for attention. The works hold themselves. They ask you to look carefully, and to give them time.

Lisette Schumacher’s paintings begin in architecture, but they do not describe buildings. What remains is rhythm, proportion, colour. Layers of paint filter light rather than block it, allowing surfaces to shift subtly as the day moves on. The work feels structured, yet never rigid.

Jeske Haak’s bronze sculptures carry weight, physically and visually. Her forms draw from hidden natural systems, but they are not illustrations. They sit somewhere between growth and erosion, between something emerging and something already settled. The hand remains visible in the finish. Nothing is overly refined. That restraint gives them presence.

For Donald Schenkel, oil paint is both medium and subject. He works the surface with custom tools, pushing pigment across wood, paper or canvas until resistance becomes part of the composition. Grain shows through. Interruptions stay. Light does not dramatise the image; it sharpens what is already there. The paintings feel controlled, yet alive.

Together, the works create a composition that unfolds gradually. Not through spectacle, but through attention.

You can read the full article here.

We look forward to welcoming you.