Inez De Brauw (b. 1989, The Hague) is a visual artist based in Amsterdam. She graduated cum laude and obtained her Bachelor of Fine Arts from HKU Utrecht in 2014. In 2016 and 2017 she was an artist-in-residence at the Rijksakademie in Amsterdam and also participated in residencies at EKWC (NL, 2022), Vermont Studio Center (US, 2023) Golden Foundation (US, 2024) and LIA (DE, 2024). De Brauw's work has been exhibited in Kunsthal Rotterdam, Artericambi Gallery in Verona, Italy, Archiv Massiv, Leipzig, Germany, SBK Amsterdam, Art Rotterdam and many other places. Her work is part of various collections, such as ING, AMC, Eneco, KPMG, De Nederlandse Bank and the NNgroup. She was nominated for numerous awards and in 2017 she got the Young Talent Award from the Prince Bernhard Cultural Fund, was nominated for Royal Award for Modern Painting in 2018 and won the NN Public Art Award (2022). De Brauw received various grants, most recently the Mondrian Fund Basic Grant (2023). 

Throughout her work, Inez de Brauw shows a fascination with the objectification of time-bound discourses. Her recent paintings draw on historical gallery paintings, using the act of painting itself as a means to explore historical revisionism. Erasure, blurring, and repainting as acts of reviewing historical imagery. Earlier works, inspired by time-bound trends in interior design and art history, focus on ideas of the ideal life, while questioning which desires specific trends echo and amplify. 

She states " My work is often about the objectification of differences between periods. In recent years I have painted many interiors, always focusing on the change of trends over time (with an interest in what the trends represent). At the same time focusing on material that implies transformation (moire through threads and homemade lenticular lenses, etc.). Before that, I painted trends next to each other that sometimes differed by hundreds of years. This resulted in sometimes funny and kitsch work. I feel like my voice as an artist lies between the 2 working styles, and I paint towards a middle ground in this series.

In my paintings mise en abyme is always a constant; the painting within the painting. This is magnified within these works. I also wanted the shadows/external input in the rooms to relate to the painted paintings, like a conversation that happens by accident. (a shadow of a plant creating a dove of peace, or a light with circles creating smiley faces on an abstract painting, shadow of flowers decorating a dress). The women in the works and the interiors mainly come from a Finnish book with classical interiors (mainly from 1800). I thought the women were beautiful because they were time-specific (chaste or stately) but radiated a self-confidence that I can still relate to today. For the frames and interiors, I took inspiration from classic trends bordering on kitsch; a bit misunderstood within current trends/time".

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For an overview of the available works click HERE

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Exhibition: The Muse Withdraws

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