Brüggemann’s series Obliterated Mirrors examines the relationship between the viewer and the art object. He maintains that he wants to place the spectator in ‘an existential position’. The artist overpaints part of the mirror-plate with opaque, aluminium paint to restrict its reflective properties and to induce curiosity. He argues that ‘I paint on the mirror, trying to Cover as much as possible so when you look at the work you see a bit of yourself but not completely, it’s like you’re erasing yourself, blocking any type of communication. In this way, the artist suggests that the act of looking at artworks always combines a degree of narcissism with the search for novelty.

Furthermore, if contemporary art presents specific complex messages that seek universal understanding, they may find greater approval when tailored to each individual. Brüggemann plays with the ubiquity of the mirror as an emblem of present-day culture to accentuate the self-conscious relationship between the observer and the image.