The acrylic paintings, made in an unlimited series of unique works, combine block colours or abstract colour fields with a recurring text. The machine-cut vinyl letters are applied to the painted ground by hand. The canvases range from sober, monochrome renditions that lean towards conceptual interpretation, to painted manifestations of vibrant acid-coloured actions.
As in much of Brüggemann’s work, the relationship between language and image is a central concern. At times the text dominates the foreground, whilst at others it gives the appearance of being partially buried in the painted field. Each work thus features a new arrangement of image and text that expands on a productive, yet unstable relationship that becomes especially patent when several works are displayed together in blocks.
The text itself appears as an extended quotation, but one that might have been appropriated from multiple sources – part William Burroughs cut-up, part concrete poem, part uncreative writing - finally atomised and recombined. It refers to an idea of how the self and the external world interpenetrate, accompanied by the frantic pulse of time. The ‘beat’ in the title distinguishes abstract time from lived duration; one provides a verifiable measurement, while the other stresses an experiential quality.