The principle of annotation is invoked in the works entitled Note Paintings. Notes are generally perceived as precursors to a final and more authoritative text, while in an artist’s studio they refer to preparatory sketches or a visual shorthand of influences. In an information society, characterised by a surfeit of material, we experience the flattening out of hierarchies of selection, a process that turns consumers into hoarders. Visual and textual elements comingle, and their provenance is reduced to being negligible.
In this context, the personal archive of the artist provides a more stable method of collection and filtration. After all, artistic practice is typified by aesthetic and curatorial methodologies and choices. Brüggemann’s own notes, photographs, or pages from magazines serve as a reference body from which items are drawn to include in the paintings; these are then screen-printed onto canvas to provide a fugitive and liminal activity with a definitive presence and highlighting the importance of process.