Tim Bučković produces paintings and drawings that begin as labyrinthine scenes, where delicate gestures of both full and cropped figures are held within undulating landscapes composed with mosaic-like texture. Alluding to both a mood and dynamism found in the historic peasantry and the socialist architecture of his biographical home of Eastern Europe, there is a naturally cryptic and speculative shell coating his narratives. Figures seem to gather in groups captivated by an unseen magnetism, while repeated signs and conditions echo across the works surface creating abstracted topographies. These graphic devices weaving throughout the staged compositions offer a unique “presence”, an agency created via a cyclical condition, an unending act of balancing and ordering his canvases in an attempt to translate the individual’s personal phenomena into something exterior. Bučković’s approach to colour and form has seen him make impressionistic works of a seemingly spiritual quality, suggesting that they exist in a place where their content refers to a fragmented holding pattern of resolve. This truly unique approach to painting is made via a rich layering process, where the linen he works on is given as much attention as the painted forms eventually becoming visible on the surface. Nodding to the Modernist art of Yugoslavia, both the Düsseldorf and Cologne schools of painting, and more understated figures of the 20th Century — both artistic and otherwise — Bučkovic’s practice is rich in a grounded history, but expansive in its own vocabulary.