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Art Brussels 2026

Ulrike Rehm & Pieter Chanterie

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Ulrike Rehm (b. 1976, Lepizg) draws inspiration from a military visual language from the GDR, where she grew up, but creates her work using crafts that have traditionally been considered feminine. In doing so, she makes this visual language her own. She uses her craft to evoke a sense of wonder. For example, she attempts to bring graffiti indoors by realizing it in classical carpets. Executed in a wide variety of materials, Rehm's work is never ponderous. Far from it, her work is characterized by humor, curiosity and an urge to experiment, inviting us to view the world with mildness, and reconcile ourselves with its shortcomings.

Rehm trained in a woodworkers' guild, later studied at the Rietveld Academy. She obtained her Bachelor of Fine Arts in 2006 and her Master's degree from the Sandberg Institute in 2011. Folkloric tales, traditions, archetypal figures, and the inherent symbolism and associations associated with them serve as Rehm's major sources of inspiration. Curiosity and a spirit of experimentation guide Rehm's artistic development, leading to her diverse use of materials. Rehm can be found in various private, museum and corporate collections. Such as, Akzo Nobel Art Foundation (Amsterdam), Louis Vuitton (Asia) and Museum Arnhem.

Ulrike Rehm, Untitled (2026), arraiolos wool, 125 x 107 cm.
Ulrike Rehm, Untitled 2 (2022), arraiolos wool, 55 x 40 cm.
Ulrike Rehm, Untitled 1 (2022), arraiolos wool, 55 x 40 cm.
Ulrike Rehm, Human & Nature, glazed ceramics, 100 x 40 cm.
Ulrike Rehm, Tanz 1 (2025), Encaustics on board, 33 x 26,5 x 1,5 cm.
Ulrike Rehm, Zone des Verlustes (2025), Encaustics on board, 23,5 x 33 x 1,5 cm.
Ulrike Rehm, Brülleimer (2025), bucket with encaustic on board, magnets and goldleaf, 25 x 25 x 25 cm.

The work of Pieter Chanterie (Leuven, 1996) ranges from miniature paintings on wood to site-specific murals, drawings, books, sculptures and automata. There’s a large focus on handcrafting the pieces and their materiality, but also on making the 2D or 3D object a window to elsewhere.   He assembles the loaded tradition of painting with diverse present-day contexts and narratives to create an alternate heritage. This unfolds into a visual language which is a medley of contemporary and historical imagery, paraphrasing pop stars alongside illuminated manuscripts, infographics alongside folklore handicraft and reality TV alongside ancient frescoes.    This sweet ‘n sour cocktail decorates the stage for spiritual, personal and fictional novellas.

Pieter Chanterie, Beauty Sleep Dropout (Wall 1) (2025), mural paint and paper cuttings, variable size.
Pieter Chanterie, Beauty Sleep Dropout (Wall 2) (2025), mural paint and paper cuttings, variable size.
Pieter Chanterie, What Type of Headache? (2025), oil painting on wood, 10 x 10 x 3 cm. 
Pieter Chanterie, Broach, Foulard and the Kitchen Sink: Prince of Lillies (2025), oil painting on wood, 10 x 10 x 3 cm. 
Pieter Chanterie, Broach, Foulard and the Kitchen Sink: City Girl Collection (2025), oil painting on wood, 10 x 10 x 3 cm.
Pieter Chanterie, Broach, Foulard and the Kitchen Sink: Corporate Collection (2025), oil painting on wood, 10 x 10 x 3 cm.
Pieter Chanterie, Song To The Siren (2024), 31,5 x 31,5 cm. various paint types on wood and glitter.

Art Brussels 2026 | Ulrike Rehm & Pieter Chanterie | Contact: Mulan Go | mulan@workingtitle.gallery | +31 6 18989815

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Mulan Go

Tegoeden:

Jonathan de Waart