By Sophie de Vos
25 × 20 cm, edition of 10, 2026
Hahnemuhle, framed in black, museumglass

From the series Fragments of Clarity

In What Lies Between, Sophie de Vos brings two hands and forearms together against a dark background. One appears clear and sharply defined, while the other breaks into ripples and fragments. The contrast draws attention to the curve of the fingers, the texture of skin and the space between the gestures.

The closely cropped composition gives a familiar subject an unfamiliar appearance. As contours shift and details become obscured, the eye moves between the physical presence of the hands and the distortion of their image.

Shipping within the Netherlands and Belgium is on us.

By Sophie de Vos
25 × 20 cm, edition of 10, 2026
Hahnemuhle, framed in black, museumglass

From the series Fragments of Clarity

In Echoes Around the Edges, Sophie de Vos brings two pale flowers into focus against a dark background. Finely detailed petals contrast with green stems and leaves, while ripples and fragmented reflections interrupt the image. Some elements remain sharply visible; others seem to dissolve into the surrounding darkness.

The composition draws the eye between the two blooms and along their wavering stems. Delicate botanical forms meet a shifting surface, allowing the image to move between recognition and abstraction.

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 Sophie de Vos
90 × 45 cm, unique, 2025
Hahnemuhle photo rag pearl, framed in black, niagara glass

From the series A Fragile Shift of Sight

This work by Sophie de Vos unfolds as both an image and a window. Against a deep black background, fragile flowers emerge in the foreground, suspended between clarity and obscurity. They are seen not directly, but through textured glass once part of an actual window frame. Its flowing surface recalls falling rain, transforming the act of looking into something layered and elusive.

For Sophie de Vos, art functions as a window onto another world; a threshold to the imaginary. By placing the photograph behind this glass, she invites the viewer to experience the image as something glimpsed rather than fully grasped - a fleeting vision that is both present and just beyond reach. At the same time, the glass evokes a sense of protection, as if the flowers are shielded in their own fragile space, reminding us of the delicate boundary between distance and intimacy, reality and imagination.

Shipping within the Netherlands and Belgium is on us.

By Sophie de Vos
90 × 45 cm, unique, 2025
Hahnemuhle photo rag pearl, framed in black, niagara glass

From the series A Fragile Shift of Sight

This work by Sophie de Vos unfolds as both an image and a window. Against a deep black background, fragile flowers emerge in the foreground, suspended between clarity and obscurity. They are seen not directly, but through textured glass once part of an actual window frame. Its flowing surface recalls falling rain, transforming the act of looking into something layered and elusive.

For Sophie de Vos, art functions as a window onto another world; a threshold to the imaginary. By placing the photograph behind this glass, she invites the viewer to experience the image as something glimpsed rather than fully grasped - a fleeting vision that is both present and just beyond reach. At the same time, the glass evokes a sense of protection, as if the flowers are shielded in their own fragile space, reminding us of the delicate boundary between distance and intimacy, reality and imagination.

Shipping within the Netherlands and Belgium is on us.

By Sophie de Vos
120 × 90 cm, ed. 1/2, 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, 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
120 × 90 cm, ed. 1/2, 2024
Hahnemuhle, framed in black, museumglass
Also available in 40 × 30 cm, edition 3/5

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.