Jonathan Wateridge: Some Distance Apart

GRIMM is pleased to announce _Some Distance Apart_, a solo exhibition of new paintings by British artist Jonathan Wateridge, on view at the London gallery from September 3 to October 10, 2026. This will be the artist's third exhibition with the gallery and his second at the London location. A new publication in the gallery monograph series will accompany the exhibition. In _Some Distance Apart_, Wateridge melds the contemporary and the classical. Capturing moments of suspension and transition, Wateridge's figures emerge and descend in their environments, pulsating amongst fields of colour and form. Distant interiors unfold alongside tempestuous land and seascapes, incorporating themes of the mythic and primal. The result is a painting practice grounded in anticipation – not as a metaphor, but as a palpable, physical experience that connects vision, film, memory and matter. Motifs of a classical and hubristic nature emerge in these new works. In _Diorama_, an entanglement of figures is depicted in a frothing and chaos strewn seascape. Here, pigments of red, white, and Stygian black are caught mid-motion, figures forming and dissolving in real time. Together, these figures trace the origins of Wateridge's paintings and his interest in capturing moments of tension, framing them as inflection points where uncertainty and latent tragedy quietly accumulate. The gravitational pull of the figures, whose limbs intertwine and collide across the canvas, lends the composition a quiet theatrical quality, a recurring theme in the works. At its centre, _Diorama_ evokes the sudden reversals of fortune that define classical tragedy, suggesting a cyclical and inescapable logic of fate. As in earlier works, Wateridge returns to these moments of suspension, where figures appear poised between the parameters of escape and entrapment, anticipation and aftermath. The exhibition's title also evokes this paradoxical journey, capturing what Wateridge presents as moments on the verge of erasure: figures that seem at once near and distant, abstract and yet resolutely figurative. It is precisely this space between opposites that preoccupies him: a threshold where absence functions not as a revelation, but as an aperture of attention, slowing and deferring the act of looking. In _Signal_, two figures are depicted calling and looking outwards towards the viewer, rendered in hues of vermilion red and orange; they occupy a nondescript space between spectrums of light and shadow, hot and cold. Their silent, voiceless gestures resemble echoes, like that of an alluring siren call. Uncertain of what they are seeking, the figures appear poised, as if on the precipice of expectation. Here, Wateridge returns to the cyclical nature of classical historical subtexts that bubble beneath his dissonant surfaces. He signals to the weight of a force much larger, a turn of fate, that much like in film or theatre, looms invisibly, permeating the stretches of time between. In _Siren_, a face is bisected by a rudimentary line running across the canvas. The image is based on a film still of Dominique Sanda in Bernardo Bertolucci's _The Conformist_ (1970), set in Fascist Italy during the 1930s. Sanda's character serves as a free spirited counterpoint to the male protagonist and her tragic fate is shaped by his moral compromises and cowardice. The metaphor of the mask resurfaces in Wateridge's uncanny depiction of Sanda, and again in _Persona,_ where an illuminated solitary figure rendered in vivid red clutches an abject mask. Elements of theatrical mirage and foreboding surface in these fragmentary compositions, inviting us to ruminate playfully on moments that hang delicately, if not fatefully, in the balance. For Wateridge, paint has the potential to alter and mark moments in passing, a way of articulating the gaps between memory and the present. The works in this exhibition foreground the urgency of intentional looking – of tracing the shared frequencies between the classical and the contemporary, where images simultaneously fuse and fracture. The resulting paintings in _Some Distance Apart_ emerge from these layered interactions between memory, history and space, revealing states of continual transition in which fate, anticipation and perception continually converge.