De Speelkamer (The Playroom) is conceived as a site-specific installation where the boundaries of the exhibition space are intentionally dissolved, prompting viewers to question where the artwork begins. Rooted in childhood play, the exhibition draws on the spontaneous, inventive way children experiment and build worlds. Just as a child invites friends over to play, Sophie welcomed fellow artists into her room to create collaboratively and without a fixed blueprint. Now that she has moved out, De Speelkamer marks a necessary departure: mirroring the moment a child outgrows their room and steps forward into a wider, uncharted territory.

This evolution is made tangible through shifts in scale. For De Speelkamer, Sophie revisits earlier pieces born from past collaborations, enlarging them into works that exceed human proportions. Standing before these monumental formats evokes a palpable sensation of being overwhelmed. Yet expanding these dimensions is equally an act of artistic self-assertion—claiming physical space as a statement of confidence, ownership, and maturity.

Throughout the space, the work is structured around deliberate polarities: the monumental against the minuscule, and dark, mature undercurrents against spontaneous, naive play. Rather than attempting to resolve these contradictions, Sophie holds them in dynamic balance—recalling Carl Jung’s concept of the tension of opposites, where embracing both light and shadow becomes the true catalyst for psychological and creative growth.

Central to this dynamic is the mirror and the device of the mise en abyme—a clear dialogue with Jan van Eyck’s Arnolfini Portrait, where a convex mirror brings the observer, the room, and the unseen artist into the same recursive frame. Sophie uses this reflective gaze to question the relationship between creator and viewer, asking where one role ends and the other begins. Confronting the spectator directly at times, and leading them through indirect, symbolic detours at others, she re-examines the very utility of art. Rather than resolving the familiar saying that art is "useless yet necessary," the work allows that tension to remain active and open.

Ultimately, De Speelkamer poses a fundamental question: does losing our capacity to play mean losing ourselves? And if so, might art remain the vital detour that keeps us connected to who we are?