london

Jonathan Wateridge

David Risley Gallery

Immense shipwrecks and the mysterious remains of plane crashes sur- rounded by magnificent natural landscapes—stormy oceans; steaming jungles; majestic mountains straight out of “America the Beautiful”—figure in “On a Clear Day You Can See Forever,” Jonathan Wateridge’s debut exhibition. The four big, irresistibly romantic paintings that comprise the show are evocative of both nineteenth-century American landscape painting à la Frederic Church and Hollywood extravaganzas like Frank Capra’s Lost Horizon (1937). Wateridge’s sublime paintings turn contemporary, however, by virtue of the unique, complex technique the artist employs: Each is painted in oil on ten large, overlapping sheets of Plexiglas; the resulting object is about a foot thick. Thus the illusion of receding perspective is literally constructed, producing a contrived three-dimensional space recalling the strained effect of 3-D

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