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
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.
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.
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 Lisette Schumacher
25 x 20 x 6 cm, 2026
Mixed media
From the series Desert Modernism
What does it mean to live between shelter and open landscape? Lisette Schumacher takes this question into Desert Modernism XI, part of a series inspired by her experience of Palm Springs and the architecture of Albert Frey. Frey House II, set against the San Jacinto Mountains, brings the natural world into close relation with domestic space. Schumacher responds to this interplay through an abstract language of colour and movement. The work captures the series’ central tension: the clarity of modernist design set within the changing, expansive conditions of the desert.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Lisette Schumacher
25 x 20 x 6 cm, 2026
Mixed media
From the series Desert Modernism
The landscape around Palm Springs holds striking contrasts: desert heat, bright spring colour and the distant, snow-capped San Jacinto Mountains. In Desert Modernism X, Lisette Schumacher draws on these changing conditions to explore how colour can suggest atmosphere and a sense of place. The work belongs to her Desert Modernism series, inspired in part by Albert Frey’s Frey House II and its close relationship with the landscape. Rather than depicting a particular view, Schumacher translates the experience of the desert into an abstract composition shaped by contrast and perception.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Lisette Schumacher
25 x 20 x 6 cm, 2026
Mixed media
From the series Desert Modernism
In Desert Modernism IX, Lisette Schumacher explores the point where architecture meets the untamed landscape. Inspired by her visit to Albert Frey’s Frey House II in Palm Springs, the work reflects the house’s openness to its natural surroundings and the shifting light of the Coachella Valley. Warm and cool colours meet across the surface, recalling the contrast between the desert’s sunlit terrain and the clear blue of the sky. Part of Schumacher’s Desert Modernism series, the work turns a specific experience of place into an abstract study of light, colour and atmosphere.
This work will be shipped within the Netherlands and Belgium at no additional cost, securely and with tracking.
By Saïd Kinos
30 × 30 cm, 2026
Acrylic, collage on wood
In Noise, Saïd Kinos paints over a collage on wood, allowing fragments of printed material to surface beneath bold, overlapping letterforms. Charcoal and muted pink create a more unsettled visual field than the cool tones of its companion work, Signal. Rather than guiding the viewer towards one readable message, the composition keeps the eye moving between shapes and partial traces of text. It reflects Kinos’s interest in how visual communication can become fragmented, layered and open to interpretation.
Delivery within the Netherlands and Belgium is arranged in consultation, either in person or securely shipped.
By Saïd Kinos
30 × 30 cm, 2026
Acrylic, collage on wood
Saïd Kinos’s Signal layers painted typography over a collage on wood. Large blue-grey and charcoal forms come forward from the surface, while fragments of the printed material beneath remain faintly visible. The work holds a tension between clarity and concealment: the eye recognises the structure of letters, yet the message stays open. Kinos’s post-typographic approach shifts attention from reading alone to the way language occupies space, colour and form.
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
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.
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
170 × 75 cm
Leather
Unique
Madelon Uljee creates sculptural wall works inspired by organic forms. In Leaves Neutrals, she shapes surplus leather from luxury fashion production into individual leaves, each folded around a raised central vein. Arranged in a loose vertical rhythm, the leaves leave generous space around them, making the wall part of the composition. Their curved surfaces catch the light and cast delicate shadows. Muted blush, taupe and brown tones meet deep plum, giving this leather wall sculpture a restrained yet distinctive palette. The work sits between botanical reference and abstraction, with the leather’s supple texture and sculptural folds kept fully visible.
Root Gallery delivers and installs the work in your home within the Netherlands, arranging the sculpture and accompanying loose leaves to suit the wall and surrounding space.
By Madelon Uljee
80 × 100 × 5 cm
Leather
Unique
In After the Storm, Madelon Uljee translates the movement of windblown leaves into a sculptural wall work. Made from reclaimed leather sourced from the high fashion industry, the work explores nature’s ability to renew itself after disruption.
Leaves are torn from branches and carried by the wind, while the tree remains, preparing for new growth. Uljee captures this movement through the folds, curves and textures of leather. Separate leaves extend beyond the central sculpture, carrying the composition across the wall.
Her choice of material connects the subject of renewal with the way the work is made. Leather remnants from fashion production become the basis for a new artwork, retaining their tactile qualities while taking on organic forms. This relationship between nature and material reuse gives After the Storm both its subject and its physical character.
Root Gallery delivers and installs the work in your home within the Netherlands, arranging the sculpture and accompanying loose leaves to suit the wall and surrounding space.
By Madelon Uljee
80 × 100 × 5 cm
Leather
Unique
In this work from After the Storm, Madelon Uljee brings together overlapping leaves in orange-red tones and deep aubergine. Curved surfaces, visible veins and dark, glossy droplets give the sculpture depth, while smaller leaves scatter beyond its edges and across the wall.
Made from reclaimed leather sourced from the high fashion industry, this nature-inspired wall sculpture explores the moment between disruption and renewal. Leaves are torn from branches and carried by the wind, while the tree remains, preparing for new growth.
Uljee translates this movement through the folds, textures and layered forms of leather. The warm colours recall autumn foliage, connecting the energy of a storm with the gradual changes of the seasons.
Material reuse is integral to the work. Leather remnants from fashion production take on new organic forms, echoing the cycle of renewal that runs through the series.
Root Gallery delivers and installs the work in your home within the Netherlands, arranging the sculpture and accompanying loose leaves to suit the wall and surrounding space.
By Jeske Haak
21 × 21 × 7 cm, 2023
Polished bronze
Unique
Ocean Meets Earth considers transformation in the opposite direction: a marine creature appears to be developing the limbs and structure needed to move on land. Multiple legs, claws and layered organic elements form an intricate body that feels both recognisable and entirely invented.
For Jeske Haak, these small bronze works are essential sculptural studies. They offer space to observe the anatomy of the creatures that fascinate her and to reconstruct their forms through imagination. Within Tiles Stories, evolution is not presented as a fixed sequence, but as an open process in which each physical change creates new possibilities.
Delivery within the Netherlands and Belgium is complimentary and arranged with care, either in person or securely shipped. We’re happy to advise on placement and presentation.
By Jeske Haak
21 × 21 × 7 cm, 2024
Polished bronze
Unique
Sky Meets Ground captures the brief moment between flight and landing. The creature’s transparent-looking wings remain extended while its legs reach towards the surface, holding the body in a state of suspension.
Created as part of Jeske Haak’s Tiles Stories, the work explores transformation through movement between different natural environments. Here, the transition is subtle: rather than becoming a completely different creature, the airborne form begins to respond to the physical reality of the ground. Cast as a unique piece in polished bronze, the sculpture preserves this fleeting encounter in a permanent material.
Delivery within the Netherlands and Belgium is complimentary and arranged with care, either in person or securely shipped. We’re happy to advise on placement and presentation.
By Jeske Haak
21 × 21 × 7 cm, 2023
Polished bronze
Unique
In Sea Meets Land, tentacle-like forms, claws and a layered central body come together in a creature poised between marine and terrestrial life. Its broad, symmetrical anatomy gives the work a strong physical presence, despite its intimate scale.
The sculpture forms part of Jeske Haak’s Tiles Stories, in which she explores how living forms might adapt when crossing from one environment into another. By combining closely observed natural details with invented anatomy, Haak creates a creature that feels evolutionary rather than fantastical. The highly polished bronze intensifies every ridge and curve, allowing light to animate the surface.
Delivery within the Netherlands and Belgium is complimentary and arranged with care, either in person or securely shipped. We’re happy to advise on placement and presentation.
By Jeske Haak
21 × 21 × 7 cm, 2023
Polished bronze
Unique
In Earth Meets Ocean, Jeske Haak imagines the moment a land-based form begins to change beneath the influence of the sea. The narrow, almost totemic creature combines a grounded body with details that suggest shells, coral and underwater growth.
The work belongs to Tiles Stories, a series in which Haak studies evolution as a continuous and imaginative process. Each sculpture records a different stage of transition, allowing familiar biological structures to develop in unexpected directions. Cast as a unique piece in polished bronze, the work shifts between an archaeological find and a creature from an unknown future.
Delivery within the Netherlands and Belgium is complimentary and arranged with care, either in person or securely shipped. We’re happy to advise on placement and presentation.
By Jeske Haak
21 × 21 × 7 cm, 2023
Polished bronze
Unique
Sea Meets Sky captures an imagined movement upwards. An elongated aquatic form appears to develop wings, as if a creature from beneath the surface is adapting to the open air. Its recognisable details remain deliberately unsettled: marine structures, limbs and delicate wing-like elements become part of one evolving body.
Jeske Haak uses the small scale of the Tiles Stories series to study creatures in close detail. Rather than reproducing nature, she reshapes its forms and considers what might emerge when the boundaries between different habitats begin to dissolve. The reflective bronze gives this moment of transformation an almost fluid appearance.
Delivery within the Netherlands and Belgium is complimentary and arranged with care, 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
20 × 25 cm, ed. 3/10, 2026
Archival pigment ink on Innova ”Soft Textured BrightWhite Photorag” with nutwood frame and museumglass
This work is part of the series Painted Room
In this series, Jan Theun van Rees explores the relationship between art and the spaces in which it is displayed. He photographs museum interiors through reflections in artworks or the glass of their frames. Blurred fragments of the original work remain visible, merging with the surrounding architecture and creating a new photographic composition.
This small-scale photograph was created at the Arp Museum Bahnhof Rolandseck in Germany during Silent Spaces, a retrospective exhibition of photographer Axel Hütte. The reflection shows how an artwork can shape the atmosphere and perception of the room around it.
Shipping within the Netherlands and Belgium is on us.