GRIMM is pleased to present a selection of artworks by international artists, on the occasion of Art Basel 2025. The selection includes works by Tjebbe Beekman, Gabriella Boyd, Dirk Braeckman, Anthony Cudahy, Angela Heisch, Tommy Harrison, Caroline Walker, Jonathan Waterigde, Matthias Weischer and Robert Zandvliet. 

Tjebbe Beekman’s canvases are simultaneously abstract and expressive, disorienting the viewer’s sense of space. Layering increasingly fragmented and polarised images, Beekman’s work is a personal reflection of contemporary society and his method of adapting to the existential events of today through creating a dialogue with his contemporaries of the past. His voracious palette of influences and ideas evokes the endless stream of media and information we sift through daily. Beekman challenges what is expected of the medium to innovate and celebrate the act of creating in its entirety. Beekman uses digital tools to capture the glitches and internal references in his early motifs, before building them out using paint, sand and plaster which he layers onto the canvas with a brush, palette knife or his fingers, to later be scraped away or built up into relief. The layered surfaces of Beekman’s paintings underline the meaning of his work, and follow the artist’s interest in architectural space.

Beekman recently held a solo exhibition at GRIMM in Amsterdam (NL) titled Glitch, which opened in January 2025.

Since the mid-1980s, Dirk Braeckman has developed an expansive oeuvre consisting of photography, and more recently video. His large grayscale works depict images from his everyday surroundings capturing iterations of movement, seriality and stillness. The brooding dreamscapes offer a window into unidentified reality; deserted ballrooms, distant seascapes, billowing curtains, peeling antique wallpaper or the fastidous blur of a nude figure, all tinged with poetic aptitude and photographic texture. 

Braeckman's darkroom functions as an area for experimental process, playing with light, cropping and using various tools to manipulate the negatives, he displays a tactility towards his medium rarely seen in photography, a painterly approach that stretches the boundaries of the medium. This work was made on the occasion of Braeckman’s solo exhibition Echtzeit at the FOMU Antwerp (BE) in 2024. For this exhibition, the artist selected historic photographs from the museum’s collection and used these as a starting point for his new body of work. 

Braeckman's work is held in many public collections including; The Museum of Modern Art, New York, NY (US); Fondation nationale d’art contemporain, Paris (FR); Kunstmuseum, The Hague (NL) and The Philadelphia Museum of Art, Philadelphia, PA (US); Royal Museum of Fine Arts, Brussels (BE); Sammlung Goetz, Munich (DE); Stedelijk Museum voor Actuele Kunst S.M.A.K., Ghent (BE).

Somewhere between focused vignettes and vast sprawling, emotional landscapes, Anthony Cudahy's multifaceted approach to figurative painting confronts painterly conventional traditions in a process that is both rigorous and romantic. Weaving imagery culled from photo archives, art history, film stills, hagiographic icons and personal ephemera, he explores the intimate spaces of queer identity and tenderness that arise in moments between the mundane. 

In his recent works, Cudahy moves from iterations of colour and mark-making to arrive at a composition. His figures imbued with feelings of longing, isolation and desire, face away from the viewer casting glances beyond the constraints of the composition. Illuminated by glowing cyan, rose, violet and teal hues they pulse with energy of a ritual moment. Erotic, somber, celebratory and private, Cudahy's figures become crystalline tokens of scenes that speak to the specific extra-ordinaryness of the everyday, as well as interior reflections of the artist's own autobiographical lens.

Cudahy will present a solo exhibition of new works, titled ceaseless arranger, at GRIMM, Amsterdam (NL), opening 29 August - 18 October, 2025.

Tommy Harrison’s work is preoccupied with the process of constructing and collapsing the painted image. Demonstrating a highly sophisticated range of techniques and influences, the artist’s works draw on various painterly traditions from the High Renaissance to the present day. Harrisons works, often anchored by motifs or found subjects derived from art history and wider visual culture, navigate a plurality of possible compositional outcomes leading us to contemplate mysterious landscapes and uncanny interiors where object and meaning coalesce. 

In his latest body of work, Harrison makes direct reference to the personal specificities of his studio environment, locating it as the site for further investigation into the visual tensions of narrative and form. His continued interest in classical historical and religious iconography is revisted through symbolic motifs and the acute visual precision embellished into each canvas. Through careful cropping and collaging, he captures the beauty in such details, in moments severed from their referent, fragmenting our notion of narrative and leading us to experience the visual intensity of the peculair. 

Recently, Harrison had a solo exhibition at GRIMM London (UK) titled, Displays. In the fall of 2025, the artist will present a solo exhibition of new works at Iris Art Museum, Suzhou (CN). A new publication will be published to accompany the exhibition.

Caroline Walker’s large canvases and intimate panels depict anonymous women in settings that blur the boundaries between public and private. Walker’s paintings are a lens for the everyday lives of women, and her portraits of diverse subjects tell their story through the spaces they inhabit. Walker has received wide acclaim for her portrayals of women as works of social commentary, although it is her ability to distill viewpoints from familiar settings and her talent as a colorist that first impact viewers of her paintings. The complexities of her subjects’ lives filter through to the surface and coalesce in images that both fulfill the senses and speak to poignant moments of human experience. As a cohesive body of work, Walker’s paintings explore the performance of gender identity, femininity, and question the norms of depicting women and the female form across a range of socio-economic contexts. 

Recently, the artist had a solo exhibition The Holiday Park at GRIMM NY (US). She is included in Acts of Creation: On Art and Motherhood, a touring exhibition in the UK on view until June 2025. Currently the artist has a major solo exhibition Caroline Walker: Mothering at The Hepworth Wakefield (UK) on view from 17 May – 27 October 2025.

One of the foremost painters of his generation, Matthias Weischer trained at the Leipzig Academy of Visual Arts. Best known for his atmospheric still-life works and his layered, collage-like explorations of perception and psychological relationships to one’s surroundings, Weischer has honed his technique through crafting scenes repeatedly, staging his own studio in the style of his painterly compositions.

In his new work, Weischer constructs enigmatic interior scenes that suggest a fleeting human presence. Each room captures an in-between moment; the rooms themselves appear almost in disrepair, as sparsely placed furniture suggests a state of abandonment.

In 2004, Weischer was chosen as the protégé of the British artist David Hockney through the Rolex Mentor & Protégé Arts Initiative. In 2005 Weischer participated in the Prague Biennial 2 (CZ) and the 51st Venice Biennial (IT). Presently, Weischer is included in group exhibition 10 Years at G2 Kunsthalle, Leipzig (DE) on view until 29 June, 2025 and will present a solo exhibition of new works at GRIMM, London (UK) in the fall of 2025.

Robert Zandvliet creates works concerned with the combined act of observation and introspection. Drawing heavily on elemental subjects and the natural world, his paintings resist realism and instead strive to capture the artifice and gesture of materiality. Using landscape as a framework, his minimal approach shifts between varying fields of depth and perception, reorienting the viewer's sense of space and signalling towards ideas surrounding authenticity and reproduction. 

Over the course of nearly thirty years, Zandvliet has presented his work across Europe and the US, and been the subject of major solo exhibitions with the Kunstmuseum, The Hague (NL), the Stedelijk Museum, Amsterdam (NL), De Pont Museum, Tilburg (NL) and the Kunstmuseum, Bonn (DE). In his new works, Zandvliet uses the tradition of painting as a guiding thread to explore varying approaches to colour and its physical shape. As in his previous series of works such as Le Corps de la Couleur (2011-18) Zandvliet's journey to explore the nuances of landscape as gateway in which depth and space can be manipulated and changed continues, aligning to his evolving pursuit of truth and the quest to discover the unexplored components within his oeuvre. 

For enquiries regarding the featured works or for more information,
please email enquiry@grimmgallery.com