Over the past 30 years Jungerman has woven thematic threads that are deeply connected to his birthplace, Suriname, placing fragments of Maroon textiles and other materials found in the African diaspora in direct contact with materials and imagery drawn from more “established” art traditions. Through this the artist presents a peripheral vision that enriches our perspective on art history. At the core of his practice, Jungerman uses kaolin clay and gridded textiles employed for rituals in the Afro-Surinamese Winti religion, harnessing their symbolic presence in his work. Winti people use the clay on their bodies for purification and wear specific fabric colour combinations that correlate with the four key elements: water, earth, air and forest.

Titles for works come from sonic influences and geographical locations of Surinamese Maroon settlements. The 'AGIDA' series is guided by the low-tone, 2 metre-long drum that is played for a ritual that is connected to the Earth.

Remy Jungerman (b. 1959, Moengo, Suriname) explores the intersection of pattern and symbol in Surinamese Maroon culture, the larger African diaspora, and 20th century Modernism. As seen in ‘Pimba AGIDA SUSA V’ and ‘Pimba AISA (III)’, Jungerman places fragments of Maroon textiles and other materials found in the African diaspora, such as the kaolin clay used in several religious traditions, in direct contact with materials and imagery drawn from more “established” art traditions.

Jungerman’s horizontal works are inspired by the personal spaces where Winti devotees commune with their spiritual entities. Horizontals are composed of slats of varying length, width, and colour, stacked atop one another or attached with small gaps in between. No matter the variety of additional elements or seeming randomness of a stack’s composition, the works always manifest balance. This stems from the Winti tradition of striving to achieve balance with one’s surroundings.

Jungerman’s horizontal works are inspired by the personal spaces where Winti devotees commune with their spiritual entities. Horizontals are composed of slats of varying length, width, and color, stacked atop one another or attached with small gaps in between. No matter the variety of additional elements or seeming randomness of a stack’s composition, the works always manifest balance. This stems from the Winti tradition of striving to achieve balance with one’s surroundings.

Photography: Aatjan Renders

Jungerman’s horizontal works are inspired by the personal spaces where Winti devotees commune with their spiritual entities. Horizontals are composed of slats of varying length, width, and color, stacked atop one another or attached with small gaps in between. No matter the variety of additional elements or seeming randomness of a stack’s composition, the works always manifest balance. This stems from the Winti tradition of striving to achieve balance with one’s surroundings.

Remy Jungerman (b. 1959, Moengo, Suriname) explores the intersection of pattern and symbol in Surinamese Maroon culture, the larger African diaspora, and 20th century Modernism. As seen in ‘Pimba AGIDA SUSA V’ and ‘Pimba AISA (III)’, Jungerman places fragments of Maroon textiles and other materials found in the African diaspora, such as the kaolin clay used in several religious traditions, in direct contact with materials and imagery drawn from more “established” art traditions.

Jungerman’s horizontal works are inspired by the personal spaces where Winti devotees commune with their spiritual entities. Horizontals are composed of slats of varying length, width, and color, stacked atop one another or attached with small gaps in between. No matter the variety of additional elements or seeming randomness of a stack’s composition, the works always manifest balance. This stems from the Winti tradition of striving to achieve balance with one’s surroundings.

Photography: Aatjan Renders