Opening What Holds - May 30
New exhibition
Root Gallery is pleased to invite you to the opening of What Holds, featuring works by Jan Theun van Rees, Madelon Uljee and Sophie de Vos.
This exhibition brings together works that each attempt to hold onto something inherently unstable - a moment, a form, a space. Some works fix what would otherwise pass, others enlarge what might go unnoticed, or construct a reality that exists only briefly. Together, they draw attention to what is often overlooked or difficult to grasp.
The presentation moves between photography and leather wall sculptures, creating a dialogue between what is captured and what is built.
Alongside the exhibition, the second edition of Invitation presents Francisca Snel, with new work in handblown glass and copper.
We look forward to welcoming you on Saturday 30 May, from 15:00 to 18:00. After the opening, the exhibition can be visited on Fridays and Saturdays from 13:00 to 17:00, and by appointment.
The exhibition remains on view until 11 July 2026.
A selection of works on view
By Madelon Uljee
75 × 100 × 5 cm
Leather
Unique
After the Storm – Orange/Red brings together warm shades of orange, rust and burgundy in a compact sculptural composition. Overlapping leather forms create a sense of movement, accompanied by individual leaves that appear to drift beyond the central work.
The artwork is part of Madelon Uljee’s exploration of the natural world and its continual cycle of change. Rather than depicting a storm itself, Uljee focuses on what remains afterwards: displaced leaves, lingering movement and the first signs of recovery.
Each element is shaped by hand from high-quality surplus leather originating from the haute couture and luxury fashion industry. The material retains its softness and tactility, while the folds and layered construction give the work a distinct physical presence.
Its more compact format makes the work particularly versatile. The accompanying leaves allow the composition to extend across the wall or respond to an architectural feature without requiring a monumental space. Installation within the Netherlands is included.
By Madelon Uljee
100 × 150 × 5 cm
Leather
Unique
In After the Storm – Red, Madelon Uljee captures the moment when the force of a storm begins to subside. Layered forms in deep red, burgundy and aubergine gather at the centre, while individual leaves appear to have been carried across the wall by the wind.
Uljee works with high-quality surplus leather from the haute couture and luxury fashion industry. By cutting, shaping and assembling the material by hand, she gives it a new life as a sculptural artwork. The curved surfaces create depth and shifting shadows, allowing the work to change subtly with the light and the position of the viewer.
The work reflects both the vulnerability and resilience of nature: a moment of disruption that already holds the promise of renewal. With its generous scale and rich colour palette, it creates a strong yet organic presence within an interior.
After the Storm – Red is accompanied by individual leather leaves, allowing the composition to respond to the proportions and architecture of the wall. Installation within the Netherlands is included.
By Madelon Uljee
60 × 60 × 5 cm
Leather, steel
Unique
Madelon Uljee creates sculptural works in leather, exploring the relationship between material, form and repetition. In this work, folded elements build up into a dense, almost architectural surface. The deep burgundy colour enhances the sense of depth and shadow, while the handmade structure keeps the piece tactile and organic. Depending on the angle and light, the work shifts between softness and sharpness, appearing both controlled and instinctive at the same time.
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 Jan Theun van Rees
122 × 91,5 cm, ed. 3, 2026
Pigment ink on acid free Innova Soft Textured Bright White - frame, raw nutwood with spacers and Museumglass (UV70)
Also available in 60 × 45 cm, ed 5, 2026
This work is part of the series Painted Room
Licht Omloop is part of Jan Theun van Rees' ongoing series Painted Room. Through a process of constructing, observing and continuously repositioning elements in relation to changing daylight, the artist creates photographs in which colour and space remain in constant flux.
In Licht Omloop, warm orange tones are balanced by areas of aqua blue and subtle touche of purple. The image hovers between abstraction and architecture, suggesting depth and movement without revealing the temporary set from which it emerged. Rather than depicting an existing space, the work presents a carefully constructed situation in which light, perspective and colour come together in a single moment.
Shipping within the Netherlands and Belgium is on us.
By Jan Theun van Rees
90 × 90 cm, ed. 3, 2026
Pigment ink on bright white Photorag mounted on museum board, framed with spacer and UV70 museum glass
Also available in 45 × 45 cm, ed 5, 2026
This work is part of the series Painted Room
Zeldzaam Groen is part of Jan Theun van Rees' ongoing series Painted Room. Working with temporary constructions, shifting daylight and carefully positioned elements, the artist creates photographs in which colour, space and perspective remain in constant flux.
In this work, a soft green surface and subtle spatial cues create an image that moves between abstraction and architecture. The final composition is not predetermined but emerges through observation, adjustment and photography. What appears to be a simple image reveals itself as a carefully balanced construction, resulting in a photograph that invites a slower way of looking.
Shipping within the Netherlands and Belgium is on us.
By Jan Theun van Rees
122 × 91,5 cm, ed. 3, 2026
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
This photograph is part of the ongoing Painted Room series by Jan Theun van Rees, in which temporary architectural spaces are constructed using painted strips of textile. Through the careful interplay of light, colour, material, and perspective, the artist creates compositions that exist only for a brief moment before being transformed into photographic works.
Natural daylight plays a central role in the process. As the light changes throughout the day, shadows shift across the installation, creating visual relationships that are unique to a specific place and moment in time. The installation is continuously adjusted in response to these changing conditions, while the camera position evolves alongside the work.
Rather than documenting a fixed scene, the photograph captures a temporary spatial construction in constant transition. Light, space, material, and viewpoint influence one another throughout the process, resulting in an image whose final outcome remains uncertain until the photographs are reviewed afterwards.
Van Rees' work explores the relationship between photography, architecture, abstraction, and perception. By transforming simple materials into immersive spatial compositions, he challenges the viewer's understanding of depth, scale, and reality.
Shipping within the Netherlands and Belgium is on us.
By Sophie de Vos
70 × 50 cm, ed. 1/3, 2026
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.
The photographic series ‘Fragments of Clarity’ by Sophie de Vos explores this duality, moving between the literal and metaphorical aspects of reflection. In most works, Sophie uses glass as a physical and conceptual layer over her subjects, creating subtle distortions that question how we perceive the world. When we look at something, are we truly seeing it as it is, or through the lens of our own experiences, memories, and emotions?
In the work ‘What Lingers After’, this approach shifts. Instead of glass, Sophie uses a photographic intervention, where movement and time become the material of distortion. Here, perception is not refracted by a physical surface, but shaped by duration and what remains after the moment has passed.
Shipping within the Netherlands and Belgium is on us.
By Sophie de Vos
70 × 50 cm, ed. 1/3, 2026
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 Jan Theun van Rees
122 × 91,5 cm, ed. 3, 2026
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 Painted Room, Jan Theun van Rees constructs a temporary, immersive space using layered materials and painted surfaces, brought together through carefully controlled light. Soft textiles in shifting tones of blue, pink and grey create a spatial composition that feels both architectural and atmospheric. The interplay between shadow and colour blurs the line between physical structure and illusion, inviting the viewer to question depth, perspective and material reality.
This work is part of Van Rees’ ongoing exploration of spatial perception in contemporary photography, where constructed environments become the subject. Through subtle variations in light and surface, Painted Room offers a quiet, contemplative image that evolves with prolonged viewing.
Shipping within the Netherlands and Belgium is on us.
By Madelon Uljee
100 × 150 × 5 cm
Leather
Unique
In After the Storm – Orange, sweeping leather forms overlap in a composition filled with warmth and movement. Deep reds, burnt orange and softer earthy tones evoke leaves caught in the final currents of a storm, moments before stillness returns.
Madelon Uljee is fascinated by natural structures and transformations that are often temporary or easily overlooked. She translates these observations into sculptural wall works that occupy the space between fragility and strength, movement and stillness.
The work is created from high-quality surplus leather from the haute couture and luxury fashion industry. Materials originally intended for luxury bags, footwear and other objects are cut and shaped by hand, becoming one-of-a-kind sculptural forms. Subtle variations in colour and texture remain visible, revealing the character of the leather.
The accompanying leaves expand the movement beyond the central sculpture, creating a composition that can be adapted to a particular wall or interior. Installation within the Netherlands is included.