Collect and Connect | December 14, 2024
Step into a world of creativity this December, as Root Gallery invites you to ‘Collect and Connect’ - an exclusive afternoon filled with art, conversation, and connection!
On the 14th of December, from 13:00 to 17:00, our gallery will be transformed into a lively meeting space where art enthusiasts can explore an extensive range of work by our talented artists, including Karen van de Vliet, Lisette Schumacher, Donald Schenkel, Sophie de Vos, Noah Arends, Vera Klaus, Quinda Verheul, and Jan Theun van Rees.
This is more than just an exhibition – it is a unique chance to meet the artists behind the work, enjoy a drink with like-minded individuals, and immerse yourself in an inspiring environment. Whether you are here to discover something new, connect with others, or simply enjoy an afternoon surrounded by creativity, this event offers a lovely experience in an intimate setting.
All the artworks on display are priced below €1,500, making it an accessible opportunity for new and experienced collectors alike. In addition, with every purchase, visitors will receive a small gift to celebrate the festive season!
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.
As you explore the gallery, you’ll find an abundance of pieces to suit your personal style. Enjoy light refreshments and casual conversations with fellow art lovers – the perfect way to spend an afternoon immersed in the world of contemporary art.
For visitors travelling to Molendijk 46, Krimpen aan de Lek, our gallery is easily accessible by both car and public transport. See the parking instructions below for more information.
By Vera Klaus
40 × 30 cm, 2026
Mixed media on cotton, framed
In Gedankenkarussell I, fragments of colour and line move freely across an open canvas. An orange-red gesture forms a loose vertical axis, surrounded by purple fields, burgundy lines and smaller shapes in blue, yellow, pink and gold. The marks remain distinct yet connected, as if each belongs to a larger train of thought.
The work reflects Vera Klaus’s interest in painting as an immediate, responsive process. Soft stains alternate with quick lines, splashes and more tactile passages. Their changing directions give the image its lively rhythm while leaving space for individual details to emerge.
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
The German title Gedankenkarussell translates as “Carousel of Thoughts”. A winding green line travels through fields of violet and pink, while vivid orange, yellow and blue marks gather towards the lower half of the canvas. The untouched surface above creates a sense of space around this concentrated movement.
Vera Klaus allows each gesture to prompt the next. Colours overlap, lines change direction and small metallic accents interrupt the softer passages. The composition captures the way thoughts can circle, disappear and suddenly return, without resolving into a fixed image.
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
Little Climb is a small abstract painting by German artist Vera Klaus. Across the natural canvas, vivid orange, neon yellow, green, pink and navy marks interact with softer passages of colour and metallic accents. A rising green line and a sequence of mountain-like contours introduce a subtle sense of movement through the composition.
Klaus works intuitively, allowing painted gestures, drawn lines, splashes and areas of untouched canvas to develop in response to one another. The title Little Climb reflects the upward rhythm within the work: a gradual movement shaped by colour, curiosity and unexpected turns.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
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.
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
30 × 25 x 6 cm, 2026
Mixed media
From the series Coachella views
In Coachella Views XV, Lisette Schumacher condenses the atmosphere of the desert into an intimate composition. Vivid pink forms move across a pale lilac ground, interspersed with softly reflective areas and a dense pattern that gathers along the right edge. The contrast between broad gestures and precise details gives the small work an unexpectedly strong presence.
Inspired by the changing colours Schumacher observed while travelling through the Coachella Valley, the artwork captures a brief visual impression rather than a fixed landscape. Its compact format makes it particularly suited to a carefully chosen position or to an existing group of artworks, while the saturated colour allows it to hold its own within a larger 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
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
30 × 25 x 6 cm, 2026
Mixed media
From the series Coachella views
Coachella Views IV is part of a series of paintings by Lisette Schumacher inspired by her travels through Palm Springs and the Coachella Valley in California. During visits to historic mid-century modern houses in the desert landscape, Schumacher became increasingly aware of the shifting colours and atmosphere created by the intense desert light.
The composition reflects these observations through layered colour fields in soft pink, peach, lavender and pale blue. Fluid gestures move across the surface like changing light conditions in the desert, where colours slowly transform throughout the day.
Rather than depicting a specific landscape, the painting translates the experience of desert light and atmosphere into a quiet abstract composition. Subtle transitions in colour create a sense of movement and openness, echoing the expansive character of the desert environment.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
Textile
She's sweet like candy by Noah Arend
€350.00
Hocus Pocus by Noah Arends
€250.00
Lilac Echoes by Noah Arends
€400.00
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.
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 Madelon Uljee
120 × 100 × 10 cm
Leather, steel
Unique
Madelon Uljee creates sculptural works in leather, where material, tension and form come together in a precise, physical composition. This work reads almost like a stretched skin: shaped by hand, with a surface that shifts between smooth and structured, catching light in a restrained way. Subtle steel elements punctuate the form, adding rhythm and weight. At 120 x 100 cm, it holds a strong presence without overwhelming the space — a work that asks for a considered placement and rewards close attention.
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 Madelon Uljee
75 × 75 cm
Leather, steel
Unique
Madelon Uljee creates sculptural works in leather, exploring the relationship between material, form and natural structures. Soft pink tones and subtle variations in texture give this work a more intimate, tactile quality. The organic form suggests a natural structure without directly referencing it, allowing the piece to remain open and intuitive. Its scale and colour make it approachable, while the material keeps it grounded and distinct.
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 Madelon Uljee
75 x 67 x 5 cm
Leather, steel
Unique
In Leaf Bubbles, Madelon Uljee works with lambskin as a sculptural surface, shaping it into a relief that references organic structures without directly imitating them. The central vein suggests a leaf-like form, while the raised elements create a rhythmic pattern across the surface, introducing tension between control and spontaneity.
The material remains visibly responsive: stretched, pressed and formed by hand, allowing subtle irregularities to emerge. These shifts in surface and structure give the work a tactile quality that changes with light and viewing angle.
Uljee’s work is rooted in the relationship between material and form. In this piece, leather functions not as a covering, but as a spatial medium, bridging sculpture and wall-based installation, with a strong affinity to architectural environments.
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 Freerk Wilbers
50 × 50 × 13,5 cm
Anodised aluminium, spring steel, PET, ball bearings, hardened steel
Unique
Green Spinner explores how systems behave once they are set in motion. In this work, Freerk Wilbers brings together four segmented circles, each mounted on a rotating axis and connected through a carefully calibrated mechanical structure. Although linked, the elements never move in the same way; each responds according to its own rhythm within the system.
The work is activated through touch. A small impulse is enough to initiate a sequence of movements that slowly unfolds beyond direct control. Structure and unpredictability exist side by side, showing how slight variations can produce noticeably different outcomes over time.
Green Spinner calls for a considered form of interaction. Its tactility is subtle, its mechanics visible yet restrained. In a private setting, the work reveals itself gradually. Not as a spectacle, but as an object that remains responsive to each new encounter
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.
Parking
Please do not park you bike or car on the dike or in front of the building, but drive you bike or car down as illustrated below.
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.