Private viewings

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 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 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 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 Jan Theun van Rees
130 × 65 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 90 × 45 cm, edition 2/3)

This work is part of the series Painted Room

In To Catch a Spark of Sunlight, Jan Theun van Rees captures the fleeting moment when light defines space. Built entirely by hand and photographed with precision, the work belongs to his Painted Room series, constructed interiors that exist only for the camera.

This particular composition plays with verticality and contrast, as sunlight appears to slice through the space, catching on surfaces and turning architecture into atmosphere. The title evokes a quiet urgency: the desire to hold onto something ephemeral, to freeze a passing beam of light.

Like much of Van Rees’ work, this image is both real and imagined, rooted in the physicality of construction, but shaped by the artist’s intuition and spatial memory.

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.

By Jan Theun van Rees
25 x 20 cm, ed. 5/10, 2024
Archival pigment ink on Innova ”Soft Textured BrightWhite Photorag” with nutwood frame and museumglass

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 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.

By Sophie de Vos
120 × 90 cm, ed. 2/2, 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 Lisette Schumacher
25 × 10,5 × 10,5 cm, 2026
Solid hand-cast glass, paint, varnish

From the series Spatial Shade

For this series, Lisette Schumacher approaches the brick as a modular unit to construct space. Referencing modernist architecture, the work builds on the logic of stacking, balancing and repetition to create a compact spatial composition.
In Spatial Shade XIII, this principle becomes more explicitly sculptural. Two volumes are positioned in relation to each other, forming a vertical structure that feels both stable and slightly asymmetrical. The composition reads almost as a distilled architectural form, reduced to its essential elements.

The work is executed in solid hand-cast glass, replacing the traditional stone brick with a material that allows light to pass through and define the structure from within. Layers of cool blue and turquoise tones interact with deeper, more saturated accents, creating a shifting visual depth that changes with the viewer’s position.
The surface carries traces of its making: subtle flow lines, variations in density and small inclusions that emphasise the physical process of casting. These details activate the interior of the work, giving the sculpture a sense of movement within an otherwise precise form.
Rather than describing space, the work constructs it, using colour, mass and transparency as its primary tools.

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 Lisette Schumacher
25 × 12 × 10 cm, 2026
Solid hand-cast glass, paint, varnish

From the series Spatial Shade

For this series, Lisette Schumacher uses the form of the brick as a fundamental building element. Referencing modernist architects such as Mies van der Rohe, Alvar Aalto and Le Corbusier, the brick is approached not as a static unit, but as a modular structure through which space can be constructed.
In Spatial Shade XV, this architectural logic is translated into solid hand-cast glass. Rather than traditional stone, Schumacher works with glass bricks in varying tones and densities, allowing the material itself to define the work. The sculpture is built around a central void, creating a contained space that shifts through light and perspective. The coloured glass functions as both structure and surface. Its translucent quality introduces depth that is not physically measurable, but optically experienced. Layers of amber, yellow and warm orange tones intensify towards the centre, while edges remain more diffuse, allowing light to enter and disperse through the form. Subtle traces of the casting process - air bubbles, flow lines and internal variations - remain visible, reinforcing the material presence of the work. These elements are not imperfections, but essential to how the sculpture holds light.Balancing between architectural clarity and optical complexity, Spatial Shade XV operates as a compact spatial construction, where mass, colour and transparency continuously interact.

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 Lisette Schumacher
25 × 15 × 10 cm, 2025
Solid hand-cast glass, paint, varnish

From the series Spatial Shade

In the Spatial Shade series, Lisette Schumacher creates glass sculptures from solid handcast coloured glass. Each work is carefully composed from individual glass elements, resulting in balanced forms that reveal subtle differences in colour and transparency.

Light plays an essential role in these sculptures. As light moves through the glass, reflections and colour variations appear within the material. The sculpture changes depending on the angle from which it is viewed, revealing different layers and tones.

The compact scale of the work allows for close viewing, where the depth of the glass and the transitions between colours become visible. The weight and clarity of the material give the sculpture a strong physical presence.

Schumacher’s sculptures highlight the qualities of glass as a material, where colour, light and form come together in a single object.

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 Lisette Schumacher
35 × 12 × 5 cm, 2025
Solid hand-cast glass, paint, varnish

From the series Spatial Shade

For this series, Lisette Schumacher uses the form of the brick as a building block. Inspired by architects such as Mies van der Rohe, Alvar Aalto and Le Corbusier, she approaches the brick not as a conventional construction material, but as a modular element through which space, balance and rhythm can be composed.
In Spatial Shade V, this idea takes on a more open and vertical form. Three stacked volumes create a slender sculptural composition that feels both stable and precarious, almost like a distilled architectural study. The work balances mass and lightness, geometry and movement.

Rather than working with stone, Schumacher uses solid cast glass bricks in different proportions. This choice transforms the brick from a practical module into a luminous surface. In this work, vibrant blue and turquoise tones move through the glass in layered, fluid patterns, creating a strong sense of internal motion. The colour does not sit on the surface, but appears to unfold within the material itself.
As light enters the sculpture, the work reveals varying densities, lines and optical shifts. Subtle traces of the casting process remain visible, reinforcing the physical nature of the object. At the same time, the flowing colour fields soften the strict geometry of the stacked form.

Spatial Shade V brings together key elements of Schumacher’s practice: modern architecture, modular composition, illusionary depth and the spatial potential of glass. Compact in footprint yet visually expansive, the sculpture changes throughout the day and rewards slow looking.

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 Jeske Haak
85 × 25 × 25 cm, 2022
Polished bronze, patina bronze
Edition 3/4 + 1 AP

Crown of the Sea, this sculpture by Jeske Haak tells the future story form the romantic perspective. In this story there is a creature with a form that is inspired by a combination of corals, fish and jellyfish. It will tell the story of gardening coral, this is a methode to create healthy eco-systems. This will benefit the organisms of the underwater world with a better quality of life and in the long run, a better future. ​ The "Crown of the Sea" is made up of three distinct elements, each with its own meaning. The bottom section represents eggs, symbolizing the creation and continuation of new life. The middle section is designed as camouflage, essential for the creature’s survival in the mysterious depths of the sea. At the top is the crown, the jewel of the sculpture, representing how the creature nourishes and gives back to the ocean ecosystem. ​ Crown of the sea is part of Faces of the Sea. Faces of the Sea is a work about the future of the underwater world. Where the different faces represent different storylines of the future scenarios. This can be a romantic story or a dark story. The story of these "faces" will be showed in different elements.

Each piece is made to order, with a lead time of approximately three to six months. 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
85 × 25 × 25 cm, 2022
Polished bronze, black marble
Edition 1/4 + 1 AP

The Arising by Jeske Haak explores transformation as a force of both fragility and power. Cast in bronze, the sculpture embodies the moment of emergence, when something delicate breaks through its surface to take form.
Haak draws on natural cycles and mythological imagery to evoke renewal and endurance. The reflective surface gives the work an almost sacred stillness, while the sculpted forms suggest motion and life within the metal itself.

Through this piece, Haak continues her investigation into the origins of creation, how form arises from matter, and how the smallest elements of nature can carry monumental presence. The Arising stands as a quiet yet commanding meditation on rebirth and material permanence.

Each piece is made to order, with a lead time of approximately three to six months. 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 Freerk Wilbers
26 x 25 x 6,5cm 
Glass, UV print, bamboo
Unique

Freerk Wilbers has been developing a new body of work that explores movement, perception, and light, and Low Moon continues this investigation. The sculpture is part of his ongoing Moon Series, a collection of freestanding glass works that translate optical phenomena into tangible form.

Low Moon is built from two transparent discs printed with fine geometric grids. When viewed from different angles, the patterns overlap to create the moiré effect, a visual interference that produces the illusion of motion. The sculpture itself remains perfectly still, yet the image of the moon seems to shift and breathe as the viewer moves around it.

With Low Moon, Wilbers reveals how stillness and movement can coexist within a single object. The work embodies the precision and quiet wonder that define his practice, offering a refined, collectable artwork that merges material craftsmanship with optical poetry.

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
26 x 25 x 6,5cm 
Glass, UV print, bamboo
Unique

Freerk Wilbers has been quietly developing a new body of work, and it begins with Full Moon. This artwork marks an important step in his practice. The piece is more intimate and collectable in scale, while still preserving the sense of movement, illusion, and wonder that defines Wilbers’ artistic approach.
Full Moon was created from a studio investigation into the moiré effect, the visual phenomenon that occurs when two similar, but not identical, patterns overlap. This effect produces dynamic, ever-changing images in the space between the grids.
The moon itself isn’t physically present; it appears only in the eyes of the viewer. The printed patterns on either side of the glass remain completely still, yet as the observer moves, a shifting optical illusion comes to life. With Full Moon, Freerk Wilbers demonstrates how perception, movement, and material can intersect, creating a contemporary artwork that resonates both conceptually and visually.

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 Jeske Haak
10 × 5 × 5 cm, 2023
Polished bronze
Edition 2/16

Imagine an evening walking through the cornfields as the sun sets, casting a golden glow that makes the corn seem to light up. "Leafs of Corn" is a candle holder by Jeske Haak designed to capture this magical moment. The leaves around the holder gently embrace the candlelight, representing the hidden light within the corn. As the candle burns, it creates a warm, inviting glow, reminiscent of the cornfields bathed in the golden hue of the setting sun. This piece invites you to bring that serene and enchanting atmosphere, where the hidden light within the leaves creates a sense of warmth and tranquility.

Each piece is made to order, with a lead time of approximately three to six months. 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
31 × 20 × 10 cm, 2021
Polished bronze, light fitting
Edition 1/8

This work by Jeske Haak, is inspired by the jellyfish. Movement of the jellyfish how is it moving trough the sea - long , short, egelent. Flying to the sea. Unique, abstract and ogranic form. Jellyfishes are well know as the light sources of the ocean.

Each piece is made to order, with a lead time of approximately three to six months. 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
20 × 12 × 10 cm, 2023  
Polished bronze, patina bronze, light fitting
Edition 2/10

In The Small Rabbithole, Jeske Haak creates an underground organic landscape made up of unique and shifting structures. The light source symbolises the rabbit escaping through the holes, and if you look closely, you might just catch a glimpse of it.

Each piece is made to order, with a lead time of approximately three to six months. 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
50 × 20 × 10 cm, 2023  
Polished bronze, patina bronze
Edition 8

A sculpture about time: a creature that tries to survive, but is there still time left for its future?

This bronze work by Jeske Haak is part of Faces of the Sea, a story about the future of the underwater world.

Each piece is made to order, with a lead time of approximately three to six months. 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
31 × 20 × 10 cm, 2021
Polished bronze, patina bronze, light fitting
Edition 8

In The Rabbithole, Jeske Haak creates an underground organic landscape where form and light intertwine. The sculpture is built up of unique, layered structures that evoke hidden passages beneath the earth. Light emerging from the openings symbolises the rabbit searching for its way through the tunnels – sometimes visible, sometimes only suggested.

This work reflects Jeske’s fascination with what usually remains unseen: landscapes and lifeforms beyond our daily perception. By combining bronze and light, she gives this hidden world a lasting presence and invites the viewer to look closer.

Each piece is made to order, with a lead time of approximately three to six months. 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
20 × 8 × 8 cm, 2024
Polished bronze, green marble
Edition 2/10

This sculpture is part of a series exploring transformation, featuring three works: Diving Flower, Walking Flower, and Flying Flower. Each piece captures a different stage in the metamorphosis of a creature that gradually evolves, its form becoming so exquisitely delicate that it resembles a flower. Moving through water, across land, and into the air, this being embodies the fluidity of change, symbolizing the beauty of evolution. ​ For Jeske Haak, this series serves as a study of form, providing the foundation for the larger sculptures she creates. Through these works, she reveals how breathtaking the shapes in nature can be if only we take the time to truly see them.

Each piece is made to order, with a lead time of approximately three to six months. 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
16 × 8 × 8 cm, 2024
Polished bronze, green marble
Edition 3/10

This sculpture is part of a series exploring transformation, featuring three works: Diving Flower, Walking Flower, and Flying Flower. Each piece captures a different stage in the metamorphosis of a creature that gradually evolves, its form becoming so exquisitely delicate that it resembles a flower. Moving through water, across land, and into the air, this being embodies the fluidity of change, symbolizing the beauty of evolution. ​ For Jeske Haak, this series serves as a study of form, providing the foundation for the larger sculptures she creates. Through these works, she reveals how breathtaking the shapes in nature can be if only we take the time to truly see them.

Each piece is made to order, with a lead time of approximately three to six months. 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
20 × 8 × 8 cm, 2024
Polished bronze, green marble
Edition 2/10

This sculpture is part of a series exploring transformation, featuring three works: Diving Flower, Walking Flower, and Flying Flower. Each piece captures a different stage in the metamorphosis of a creature that gradually evolves, its form becoming so exquisitely delicate that it resembles a flower. Moving through water, across land, and into the air, this being embodies the fluidity of change, symbolizing the beauty of evolution. ​ For Jeske Haak, this series serves as a study of form, providing the foundation for the larger sculptures she creates. Through these works, she reveals how breathtaking the shapes in nature can be if only we take the time to truly see them.

Each piece is made to order, with a lead time of approximately three to six months. 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 Saïd Kinos
12 x 19 x 37 cm incl. standard
Bronze with walnut wood standard
Edition 1/3 + 1 AP

Saïd Kinos uses language as a vehicle to explore form, colour and diverse artistic methods. Over the years, his artistic practice has evolved in captivating ways. In 2022, Saïd introduced bronze into his repertoire, crafting stunning three-dimensional sculptures that bring his iconic visual language to life and highlight the interactive nature of his work. While language in his previous work focused on communication with differing interpretations, ‘Breath’ is part of a new body of work that is connected to more personal connotations and narratives.

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 Lisette Schumacher
40 x 20 x 9 cm, 2023
Mixed media

From the series Spatial Reflections

Lisette Schumacher created a new series of sculptural works in which she applied new materials and techniques. The front and the back of the work differ, leading to surprising outcomes.

In ways the spacial reflection series builds on her trailing reflection series.

Endless reflections of sun on glass and water were the starting points to create Lisette’s Trailing Reflections series. During her residency in Los Angeles (April – May 2022) she visited The Stahl House, located in the Hollywood Hills. It was designed by Buck Stahl and Pierre Koenig in 1959-60. She was stunned by the pure beauty and tranquillity of the Stahl House. During her stay, Lisette noticed an intriguing play of reflections in the glass facades of the home, caused by the water of the swimming pool and the reflections of the sun. She wanted to create a body of work that would visualise her observations and bring an ode to the family home, built from glass and steel. The Stahl House has become the figurehead of modern architecture in Los Angeles. She picked the colour palette based on the local rocks, succulents, interior and the swimming pool.

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 Quinda Verheul
80 x 40 x 30 cm, 2021
Serpentine Opal, rose coloured mirror

Quinda Verheul is inspired by big scientific topics like the hydrological cycle, the erosion of the earth and natural forces like wind, water and sunlight. But also by the practice of mining, where people dig for treasure and ruin and influence entire landscapes. By using mirrors, Quinda shows both the human perspective as well as the experience of emptiness and reflection. With this, she creates strange landscapes that offer some kind of recognition, but which can also be part of an entirely different world. Her work is usually site specific and temporary, an aspect which also questions the value of temporary work and the extent to which physical presence of said piece is still necessary.

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.