Hadassah Emmerich at Rosewood, Amsterdam
Nocturnal Tiger Palm is both the title of the central painting by Hadassah Emmerich and the exhibition, organized in collaboration with Rosewood Hotel, Amsterdam. Presented in the context of International Women’s Day, the exhibition marks an important moment, as Emmerich is the first female artist to show her work in the Rosewood Gallery space. Her practice, which reconsiders and reimagines the female body through a poetic yet critical visual language, feels especially resonant in this setting.
The exhibition presents a selection of works characteristic of Emmerich’s oeuvre. The sensuality of her paintings resides not only on the surface of the often erotic image, but also in her refined use of color and technical execution. Since 2016, Emmerich has developed a distinctive painting technique using stencils cut from vinyl flooring, which she covers with ink and then impresses onto canvas, paper, or directly onto a wall. Referring to the visual language of advertising and Pop Art, she creates images that both aestheticize and problematize the female body. She depicts the paradox of simultaneous attraction and repulsion, intimacy and cool detachment, seduction and critique. In this way, Emmerich succeeds in making the act of looking truly provocative.
Nocturnal Tiger Palm is part of a series in which the tiger palm appears as a fictional plant species. Rather than depicting a specific botanical form, the palm functions as an ornamental motif that structures the image and organizes its spatial logic. The leaves create layered planes that fold and overlap, forming openings and vistas that guide the eye through the painting. Depth is constructed not through traditional perspective but relationally: spaces emerge, dissolve, and reappear elsewhere. The painting reveals itself gradually, with fragments of the female body becoming visible only through sustained attention. Associations with night-blooming plants and nocturnal creatures resonate in the color palette: deep blues, sharp contrasts, and fluid transitions create an intimate atmosphere.
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Hadassah Emmerich – Nocturnal Tiger Palm
5 March – 19 April 2026
The Gallery, Rosewood in collaboration with Galerie Ron Mandos, Amsterdam
Also on view at Rosewood: Ashore (2025) by Jacco Olivier
By using paint frame by frame, Olivier keeps the brushstroke visible even when the image begins to move. This makes his animation feel like paintings in motion; personal, colorful, and fluid. They capture small human gestures while opening up larger reflections on time, memory, and perception.
ABOUT Hadassah Emmerich
Hadassah Emmerich was born in 1974, in the Netherlands
She lives and works in Brussels, Belgium
Hadassah Emmerich explores recurring themes like the body and identity, the sensory and the sensual, the commodification of the erotic and the exotic. The sensuality of her painting resides not only on the surface of the erotic image, but also in her refined use of colour and technical execution. Since 2016, Emmerich has worked with a new painting technique, using stencils cut from vinyl flooring, which she covers with ink and then impresses onto canvas, paper or a wall. Referring to the visual language of advertising and Pop art, she creates images that both aestheticise and problematize the female body. She depicts the paradox of simultaneous attraction and repulsion, intimacy and cool detachment, seduction and critique. In this way, Emmerich succeeds in making the act of looking truly provocative.
Hadassah Emmerich studied at the Academy of Fine Arts in Maastricht, HISK Flanders and Goldsmiths College, London. She had exhibitions at Bonnefanten, Maastricht, NL; Kunsthal Kade, Amersfoort, NL; The Royal Palace, Amsterdam, NL; CENTRALE for contemporary art, Brussels, BE; ISA Art Gallery, Jakarta, ID; De Garage, Mechelen BE; KANAL, Brussels, BE; Museum Arnhem, NL; GEM, The Hague, NL; Künstlerhaus Bethanien, Berlin, DE; SCHUNCK, Heerlen, NL. Her work is represented in the collections of a.o. Museum Voorlinden, Wassenaar; Federal Government, Brussels; Rijksmuseum Amsterdam; Bonnefanten, Maastricht; Flemish Parliament, Brussels; Kunstmuseum Den Haag; Museum Arnhem, and the Ministry of Foreign Affairs, The Hague.
ABOUT Jacco Olivier
Jacco Olivier fuses painting and filmmaking by repeatedly reworking paintings in generous casual brush strokes and systematically photographing each development. The various stages are combined into projected animations. The resulting films are enigmatic and experiential – moving in and out of abstraction they reveal the traces and decisions made by the artist in the process of painting. While there is a clear and quite complex process involved in their creation, Olivier does not set a thematic agenda for the works, or for their relationship to one another. The films are instead imagined as windows onto converging, and often elegantly simple, moments of daily life – a bus journey, a swim in the ocean, or a walk through the woods. At this convergence of painting and cinema, however, lies an uneasy tension, a feeling that something is about to happen or has just happened that is unexpected and beyond our control.
Jacco Olivier is a graduate of the Rijksakademie van beeldende kunsten, Amsterdam. He has exhibited worldwide, notably at ZKM, Karlsruhe; Sammlung Goetz, Munich; Victoria Miro Gallery, London; Marianne Boesky Gallery, New York, NY; Dordrechts Museum, Dordrecht; MCA Denver, CO; The 56th Venice Biennial, Venice; Frans Hals Museum, Haarlem; New York City Center/New Museum, New York, NY, and GEM, The Hague. His art is held in many public collections, including Museum Voorlinden, Wassenaar; the AkzoNobel Art Foundation, Amsterdam; the Honart Museum, Tehran; the Zabludowicz Collection, London, and the Rubell Family Collection, Miami, FL. In 2019, he was awarded the Jeanne Oosting Prize for figurative painting in The Netherlands.
Jacco Olivier was born in 1972 in Goes, The Netherlands
He lives and works in Amsterdam, The Netherlands
