Soetkin Dewulf

Soetkin Dewulf is an Ostend-based artist whose practice playfully stretches across installation, mixed media, and the joyful dismantling of whatever “art” is supposed to be. Working from her studio, she investigates her own interests and opinions and translates them into work that balances honesty, upbringing, and an unshakable dose of sarcasm.

Raised by a master sculptor and therefore inevitably colliding with classical art at an early age, she grew up inside the long-debated question “what is art?”—a question she now approaches with curiosity, irreverence, and occasionally with a wink. Her installations often take familiar formats and tilt them on their axis, poking fun at artistic conventions while still engaging their conceptual depth.

Beyond her artistic practice, Soetkin is the Chairperson of Boegbeeld vzw, where she co-curates events, and steps in wherever needed—from programme building to behind-the-scenes crisis wizardry. Her work as curator and organiser is grounded in the same honest, humorous, and hands-on sensibility that runs through her artistic output.

Across the years, Dewulf has carved out a trajectory that effortlessly bridges formal training and unapologetically rogue experimentation. Rooted in studies ranging from Fine Arts in Bruges to Film, Photography, Visual Merchandising and Spatial Design in Brussels and Ghent, her background reads like a map of disciplines she has since learned to bend, blend, and occasionally subvert. Her artistic footprint has appeared in spaces as diverse as I Have a Small Head, Loods 24, STKN/RSL, Kijkhut, Repeat, Welcome to Whateverland, and the immersive installation Drive-In—each project expanding her ongoing dialogue with form, space, and the absurd. As a curator, she has shaped experiences including The Big Space, the urban route Kunst in de Stad, Kunst in de Vitrine, and the nocturnal gathering Langste Nacht, while her scenographic work on 60 degrees of separation further underscores her instinct for crafting atmospheres rather than mere settings. Dewulf also worked for nearly a decade in the film sector in production roles, collaborating on a range of projects for broadcasters such as the BBC, VRT and VTM, an experience that quietly shaped her organizational backbone and narrative sensitivity.

As both artist and organiser, Soetkin moves between worlds with a sharp eye, a grounded sensibility, and a gentle refusal to take the art world too seriously. Her work—material, social, or conceptual—pushes at boundaries while keeping space for humour, intuition, and human warmth.