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.