Singular scenes from the larger works in the show, laid out in a grid-style configuration, as in Time to Speak a Human Language 1 (2014), could be mistaken for frames of an artfully executed graphic novel. But on closer inspection, Buchina’s particular personality shines through. Some scenes and sections of his works look familiar at first—a man’s smiling face, a boat, a horse—but when you look closer, they’re nightmarish, even grotesque. Those are intestines, yes, and disembodied legs, human figures disoriented or writhing in pain.
These gridded works serve as a sort of entryway into the exhibition, and to Buchina’s practice. “When you first walk into the exhibition, and you see the first painting, you see this grid format—which is in many of the paintings—that forces you to see the work through the geometric form,” Teicher explains. “As you continue, you see less and less of this structure; the works become more open, more fluid, it’s very exciting.”