Inez de Brauw (b. 1989, The Hague) lives and works in Amsterdam.

De Brauw received her BFA at HKU Utrecht in 2014 (with honours) and participated in residenties including Golden Foundation (US 2024), LIA (DE 2024), Vermont Studio Center (US 2023), EKWC (NL 2022) and Rijksakademie van beeldende kunsten (NL 2016-2017).

Exhibitions include 'Seeing Double' at Archiv Massiv in Leipzig (2024), Unfair Amsterdam (2023), 'Home is where the art is' at Kunsthal Rotterdam (2022), 'Thuis' in Kunstlinie Almere (2021),

'On sight’ in 38CC in Delft (2020) and 'Lost and Found in Paradise' hosted by ARTUNER (2019).

De Brauw won the NN Public Art Award (2022) and was nominated for multiple awards including Royal Award for Modern Painting in 2018. Participation in Art Fairs include Untitled Miami and Art Rotterdam. De Brauw received various grants, most recently the Mondrian Fund Basic (2023). 

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Throughout her work, Inez de Brauw shows fascination with objectifications of time bound discourses. Her current paintings (2024) are based on historical gallery and salon paintings. The act of painting is used as an exploration of historial revisionism; painting to erase, to edit or to cover parts of historicial paintings. Through the concept of mise en abyme -a recursive framing within frames-, the images are layered in a way where certain subjects are faded and erased while others are brought into light; playing with who is showing off, and who is in the frame. 

​Earlier painting series (2016-2022) are inspired by time-bound trends in model houses and interiors taken from lifestyle magazines. The interior photos, which the paintings are based on, echo and amplify desires, and what is desired can be influenced by the pictures: the photos are copying life by studying peoples wishes and behaviour. And then life is copying the photos. As such, the paintings could become a framework that reflect the continued migration of forms and ideas, from magazines to real life, back into magazines, in an endless mirroring of historic forms and their imitations. ​​​

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The idea of constant migration and transformation though time is furthered by de Brauw's technique. De Brauw painted on polyptychs and encourages the viewer-owner to reshuffle the panels to create a new painting. She searches for materials that further imply transformative aspects, such as the ancient technique of ebru (water marbling), plaster, DC motors and moire materials as black threads and selfmade lenticular lenses. De Brauw fills her paintings with these contradictions and repetitions to create a dreamlike mise en abym, where everything seems in motion through the lens of time. ​