Works

Peepina NY – Monotype – 22 x 30 inch (56 x 76 cm) 2013

– SILKSCREENS – Peepina A2 detail – 27,5 x 39 inch (70 x 100 cm) 2011

Peepina A4 – 27,5 x 39 inch (70 x 100 cm) 2011

Peepina B3 – 27,5 x 39 inch (70 x 100 cm) 2011

Peepina D2 – 27,5 39 inch (70 x 100 cm) 2011

Peepina C6 – 27,5 39 inch (70 x 100 cm) 2011

Peepina Devil Maroon A8 detail – 27,5 39 inch (70 x 100 cm) 2011

Peepina Devil Maroon A8 – 27,5 39 inch (70 x 100 cm) 2011

Peepina Devil Maroon A2 – silkscreen 27,5 x 39 inch (70 x 100 cm) 2011

Crossing the Water III – collage – 19,7 x 19,7 inch (50 x 50 cm) 2014

GARDEN OF EDEN SACRIFICE – collage – 49 x 64 inch (125 x 163 cm) 2011

BLUE DEVIL – collage – 48 x 59 inch (122 x 150 cm) 2010

Red Bakru – collage – 38,6 x 16 inch (98 x 41 cm) 2010

WHITE FATHER – collage – 9,4 x 11 inch (24 x 28 cm) 2010

Gentleman In Pink – collage – 32,3 x 22 inch (82 x 56 cm) 2010

Black Cat – collage – 58,3 x 16,5 inch (148 x 42 cm) 2010

Interpretors – 23,6 x 55 inch (60 x 140 cm) 2010

WHAT’S THE PROBLEM – collage – 10,6 x 12 inch (27 x 31 cm) 2007

CARNIVAL – collage – 10,6 x 12 inch (27 x 31 cm) 2007

RITUAL – collage – 48 x 40 inch (122 x 99 cm) 2005

POSU JoBurg, cotton textile, kaolin (pimba) on plywood, 94.5 x 94.5 x 51 in. (240 x 240 x 130 cm) 2024, was constructed in situ for Remy Jungerman’s first solo exhibition on the continent at Goodman Gallery Johannesburg titled “Still Waters.” Posu Joburg is presented as a deconstructed cube. In Jungerman’s practice, cube structures are seen as shrines. Posu Joburg invites viewers to engage with the inner components of the cube, offering their own contemplative libations. The installation extends Jungermans’s recent exploration of a looser use of the signature kaolin clay he uses in his work, dripping the substance down panels covered in fabric. The vertical lines of clay that result waver and curve in a rhythm that mirrors the way the textiles worn during Winti rituals in his native country Suriname fall on the body when worn.

“Flying Gees” Constructed from wooden slats, clay, and tar, Flying Geese was conceived as a shrine to the artist’s Surinamese Maroon ancestors. At its base, an engraved panel depicts a drummer and dancer performing the Tjeke, a Surinamese Maroon ceremonial dance. The triangles featured on the dancer’s shoulder capes repeat throughout the sculpture, appearing on its textile-covered surfaces and on the diagonal wooden slats suspended within its interior. While researching the work, Jungerman was struck by the echoes between these triangular motifs and the Flying Geese quilt pattern of the American South. It is believed that quilts featuring the pattern were used as signals along the Underground Railroad, helping to guide enslaved people northward toward freedom. With its clay and tar evoking an earthbound resilience, Flying Geese honors the collective history, memory, and spirituality of the African diaspora. 2026 / wood, cotton textile, kaolin clay, tar, and glass beads / 4.25 × 4.25 × 6.25 feet

detail Flying Gees

test

INITIANDS – painted wood, cotton textile, kaolin, bottles – 112 x 96 x 16 inch (284 x 244 x 41 cm) 2015

NKISI Omen, cotton textile, kaolin (pima), blue pigment (Reckitt’s Crown blue, wood, 50 x 50 x 32.7 in. (127 x 127 x 83 cm) 2022

Pimba OBIATONGO VI, cotton textile, kaolin (pimba) and reflective glass beads on wood panel, 23.6 x 23.6 x 1.8 in. (60 x 60 x 4.5 cm) 2026

Three Rivers, textile and photocopies, 387 x 95 in. (983 x 241 cm) 2025. Three Rivers Especially for the Mondriaanhuis, Remy Jungerman created the wall installation Three Rivers. This work is composed of a grid to which the artist attached strips of checkered fabric and photographs of himself collecting water samples from three rivers significant to his life and work. In Three Rivers, Jungerman connects the Cottica River in his birthplace Moengo to the Hudson River in New York and the Amstel River in Amsterdam. Three Rivers invites a broader reflection on the historical connections between New York, the Netherlands, and Suriname, rooted in the transatlantic slave trade and the profound impact this vast movement of people and artistic traditions has had on art history. Jungerman: “Mondrian himself is a powerful example of this movement: he left his homeland, immersed himself in a new culture, and enriched his work by incorporating influences from Black culture and the rhythms of jazz into his later paintings.

FODU. HOLDER II, cotton textile, kaolin (pima), gin jar, bottles, candles, wood, 47.2 x 47.2 x 35.4 in. (120 x 120 x 90 cm) 2015 - 2021

Pimba KOBUA, cotton textile, kaolin (pimba) on wood panel,47 x 47 x 1.8 in. (120 X 120 x 4.5 cm) 2026

detail Three Rivers, textile and photocopies, 387 x 95 in. (983 x 241 cm) 2025

NKISI RORAC, cotton textile, kaolin (pimba), shreds, gin jar, yarn, beats, tar, nails, acrylic, wood, 10.2 x 10.6 x 86 in. (26 x 27.5 x 218 cm) 2021

Posu YAW, cotton, textile, kaolien (pimba) on plywood panel, 94.5 x 94.5 x 51 in. (240 x 240 x 130 cm) 2025. In the space where the museum displays early works by Piet Mondrian, Jungerman will honour his artistic "ancestor" with a sculpture entitled "Posu Yaw.” Posu means shrine or altar in Sranan Tongo, the language of Suriname, and Yaw refers to a Ghanian custom of naming children based on the day of the week they are born. Enslaved African people who arrived in Suriname from Ghana carried on this tradition of naming. Mondrian was born on Thursday 7 March 1872 and Yaw is the Ghanian word for Thursday. Besides these original pieces created especially for this exhibition, a selection of Jungerman's older works will also be on display.

DAGWE (dodecagon), 1/3 cotton textile, kaolin (pimba) color pencil, 59 x 59 x 2 in. ( 150 X 150 X 5 cm)

FODU. HOLDER III, cotton textile, kaolin (pima), gin jar, yarn, nails, beads, wood, 47.2 x 47.2 x 31.5 in. (120 x 120 x 82 cm) 2015 - 2021

Pimba FIA, cotton textile, kaolin (pimba) on wood panel,47 x 47 x 1.8 in. (120 X 120 x 4.5 cm) 2026

POSU JoBurg, cotton textile, kaolin (pimba) on plywood panel, 94.5 x 94.5 x 51 in. (240 x 240 x 130 cm) 2024. POSU JoBurg, cotton textile, kaolin (pimba) on plywood, 94.5 x 94.5 x 51 in. (240 x 240 x 130 cm) 2024, was constructed in situ for Remy Jungerman’s first solo exhibition on the continent at Goodman Gallery Johannesburg titled “Still Waters.” Posu Joburg is presented as a deconstructed cube. In Jungerman’s practice, cube structures are seen as shrines. Posu Joburg invites viewers to engage with the inner components of the cube, offering their own contemplative libations. The installation extends Jungermans’s recent exploration of a looser use of the signature kaolin clay he uses in his work, dripping the substance down panels covered in fabric. The vertical lines of clay that result waver and curve in a rhythm that mirrors the way the textiles worn during Winti rituals in his native country Suriname fall on the body when worn.

VISITING DEITIES, cotton textile, kaolin (pimba), painted wood, meranti table legs (58), dry river clay, nails, yarn, mirror and river water samples (Cottica SR, Hudson US, Amstel NL, 389 x 134 x 102 in. (975 x 340 x 260 cm) 2018 – 2019

Horizontal Obeah SIKU, cotton textile, kaolin (pimba), gin bottle, nails, yarn, acrylic, wood (yellow poplar, plywood, mdf), 39 x 13 x 3,5 in. (99 x 33 x 9 cm) 2020

Nkisi PINDI, cotton textile, kaolin (pimba), shreds, wood, 10.2 x 10.6 x 33 in. (26 x 27 x 84 cm) 2020

Pimba SEMOISI, cotton textile, kaolin (pimba) on wood panel, 47 x 59 x 1.8 in. (120 x 150 x 4.5 cm) 2025

VISITING DEITIES detail

detail Horizontal Obeah MAAU (LA LLORONA), cotton textile, kaolin (pimba), gin bottle, tar, beats, nails, yarn, acrylic, wood (yellow poplar, plywood, mdf), 112 x 19 x 6.7 in. (285 x 49 x 17 cm) 2020

Pimba SEMOISI III, cotton textile, kaolin (pimba) on wood panel (plywood),31.5 x 42 x 1.8 in. (80 X 107 x 4.5 cm) 2025

Horizontal Obeah MAAU (LA LLORONA), cotton textile, kaolin (pimba), gin bottle, tar, beats, nails, yarn, acrylic, wood (yellow poplar, plywood, mdf), 112 x 19 x 6.7 in. (285 x 49 x 17 cm) 2020

Pimba BAAU I, cotton textile, kaolin (pimba) on wood panel, 24 x 24 x 1.6 in. (61 x 61 x 4 cm) 2025

Tree Rivers Black, cotton textile, kaolin (pimba) on wood panel,75 x 94.5 x 1.8 in. (190 x 240 x 4.5 cm) 2025

Pimba ABENA I, cotton textile, kaolin (pimba) on wood panel, 24 x 24 x 1.6 in. (61 x 61 x 4 cm) 2025

Pimba MARAKA XVI, cotton textile, kaolin (pimba) on wood panel, 13 x 13 in. (33 x 33 cm) 2024

PROMISE IV, cotton textile, kaolin (pimba), yarn, nails, acrylic, wood (yellow poplar, plywood), 196 x 53.5 x 52.7 in. (498 x 136 x 134 cm)

Pimba MARAKA IX, cotton textile, kaolin (pimba) on wood panel, 13 x 13 in. (33 x 33 cm) 2024

PROMISE V, cotton textile, kaolin (pimba), yarn, nails, wood (yellow poplar, plywood), 92.5 x 32 x 32 inch (235 x 82 x 82 cm) 2019

Horizontal Obeah BEMBU, cotton textile, kaolin (pimba), tar, yarn, acrylic, wood (yellow poplar), 58.7 x 12 x 5 in. (149 x 30 x 13 cm) 2020

Pimba AGIDA SUSA V, cotton textile, kaolin (pimba) on wood panel, 75 x 94.5 x 1.8 in. (190 x 240 x 4.5 cm) 2024

FODU composition 24 - cotton textile, kaolin (pimba), wood (mdf, plywood), yarn, jenever bottle, acrylic - 161 x 106 x 14 in. (410 x 270 x 35 cm) 2015

APUKU RETURN – wood, nails, yarn, 100 x 100 x 15 cm 2011

Pimba AGIDA SUSA II, cotton textile, kaolin (pimba) on wood panel, 75 x 94.5 x 1.8 in. (190 x 240 x 4.5 cm) 2022-2023

Pimba AGIDA SUSA, cotton textile, kaolin (pimba) on wood panel, 75.6 x 95.3 in. (192 x 242 cm) 2021

TRAVELERS NY – mixed media, variable dimensions New York 2007. Infinite Island: Contemporary Caribbean Art at Brooklyn Museum

detail Pimba AGIDA SUSA, cotton textile, kaolin (pimba) on wood panel, 75.6 x 95.3 in. (192 x 242 cm) 2021

Pimba AGIDA KAA III, cotton textile, kaolin (pimba) on wood panel, 32.3 x 95.3 in. (82 x 242 cm) 2020

Nkisi SANGA – cotton textile, kaolin, wood – 15,7 x 16,5 x 33,5 inch (40 x 42 x 85 cm) 2016

FODU Composition 9 – cotton textile, wood, kaolin – 78,7 x 78,7 inch (200 x 200 cm) 2016 (collection US Embassy Suriname)

Nkisi PAKAMUTU – cotton textile, wood, nails, yarn, kaolin – 15,7 x 16,5 x 33,5 inch (40 x 42 x 85 cm) 2016 (collection US Embassy Suriname)

Nkisi PAKAMUTU detail 2016 (collection US Embassy Suriname)

Horizontal Obeah LANGU – cotton textile, kaolin, acrylic, wood – 71 x 5,5 x 2,8 inch (180 x 14 x 7 cm) 2016

Fodu composition SOOLAN – cotton textile, kaolin, wood – 79 x 79 inch (200 x 200 cm) panel size 24 x 24 inch (60 x 60 cm) 2017

Fodu composition TUTU – cotton textile, kaolin, wood, paint 79 x 79 inch (200 x 200 cm) panel size 24 x 24 inch (60 x 60 cm) 2017

Horizontal Obeah VODUPAATI – cotton textile, kaolin, wood, acrylic and nails 14 × 76 × 4 in. (36 × 193 × 10 cm) 2017

NKISI NESEKI – cotton textile, kaolin, wood, acrylic, nails 65 x 9 x 8,7 inch (166 X 23 X 22 cm) 2017

Horizontal Obeah TJEKE detail – cotton textile, kaolin, wood, nails, yarn, acrylic 87,5 x 26 x 3 inch (222,5 x 65,5 x 7,5 cm) 2016 – 2018

Horizontal Obeah TJEKE – cotton textile, kaolin, wood, nails, yarn, acrylic – 87,5 x 26 x 3 inch (222,5 x 65,5 x 7,5 cm) 2016 – 2018

Horizontal Obeah HASIGOUN detail 2018

Horizontal Obeah HASIGOUN – cotton textile, kaolin, wood, nails, yarn, acrylic – 76,8 x 15 x 3,5 inch (195 x 38 x 9 cm) 2018 (in private collection)

Horizontal Obeah GOLIO – cotton textile, kaolin, wood, acrylic, 52,5 × 25 × 3 inch (235 × 63 × 8 cm) 2016 – 2018

Promise IV , 2018 – 19, painted wood, cotton textile, kaolin (pimba), yarn and nails, 134 x 136 x 489 cm (152 x 45 x 20 inch)

VISITING DEITIES, cotton textile, kaolin (pimba), painted wood, meranti table legs (58), dry river clay, nails, yarn, mirror and river water samples (Cottica SR, Hudson US, Amstel NL, 389 x 134 x 102 in. (975 x 340 x 260 cm) 2018 – 2019

RITE OF PASSAGE – mixed media – 63,8 x 60 x 8 inch (162 x 152 x 20 cm) 2013

OPETE DISGUISED III – painted wood, textile – 88,5 x 17 x 3 inch (225 x 44 x 7 cm) 2013

OPETE DISGUISED I – painted wood, cotton textile – 82,6 x 7 x 3 inch (210 x 18 x 7 cm) 2013

VOICES OF BABEL – painted wood – 60,6 x 41 x 6,3 inch (154 x 104 x 16 cm) – 2013

Horizontal GRI GRI – painted wood, textile, kaolin, screws – 45,7 x 14 x 2, inch (116 x 36 x 6 cm) 2014

ULTIMATE RESISTANCE – wood, cotton textile, kaolin – 34 x 16 x 18 inch (85 x 40 x 45 cm) 2014

ATLANTIC CONNECTION – painted wood, bottle, paper – 49 x 13,7 5 inch (125 x 35 x 13 cm) 2014

TRANSITION NKISI – cotton textile, kaolin, wood, iron nails – 33 x 16,5 x 15,7 inch (84 x 42 x 40 cm) 2015

HORIZONTAL OBEAH XIII and HORIZONTAL OBEAH XV – sizes vary 2015

FODU composition 24 detail – cotton textile, wood, bottle – 161 x 106 x 14 inch (410 x 270 x 35 cm) 2015

FODU composition 24 detail – cotton textile, wood, bottle – 161 x 106 x 14 inch (410 x 270 x 35 cm) 2015

HIGHER TALKS – mixed media – 57 x 57 x 4 inch (145 x 145 x 10 cm) 2008

WHITE HAND – mixed media – 81,5 x 82 x 3,5 inch (207 x 209 x 9 cm) 2008

BAKRU – mixed media – 118 x 87 x 15 inch (300 X 220 X 38 cm) – photo© Aatjan Renders 2008

GUARDIAN HAVANA detail – mixed media – 197 x 98 x 12 inch (500 x 250 x 30 cm) 2009

GUARDIAN HAVANA – mixed media – 197 x 98 x 12 inch (500 x 250 x 30 cm) 2009

WISE WORDS – mixed media – 67,7 x 68 x 9 inch (172 x 173 x 23 cm) 2010

WISE WORDS detail – mixed media – 67,7 x 68 x 9 inch (172 x 173 x 23 cm) 2010

COMM.TREE White Center – mixed media 177 x 118 x 4,7 inch (450 x 300 x 12 cm) 2008

CROCC. COMM – mixed media – 91 x 59 x 15 inch (230 x 150 x 38 cm) 2002

NOBODY IS PROTECTED – mixed media, installation – variable dimensions 2000

NOBODY IS PROTECTED edition – mixed media – 57 X 23,6 X 20,4 inch (145 x 60 x 52 cm) 2008

UNTITLED – mixed media – 15,7 x 60,6 x 87,9 inch (40 x 154 x 223 cm) 2002