The series is comprised of individual Time Paintings and installations. Its central motif is the use of a text taken from an earlier work by the artist entitled Time (2014). The text is an observation on Contemporary society in which accelerated time ceases to be perceived as linear and becomes blurred. When events no longer follow one another but are sped-up and therefore compressed into a single space, we are left with an impression of stasis. The black and white vinyl text is applied to different surfaces such as mirror, canvas and wood, and generally overlaid with aluminium paint.
In much of his textual work Brüggemann argues for a complete absence of process, as he is well aware of the fetishistic possibilities of an activity that takes place away from the viewer's scrutiny. Thus, the artist proceeds swiftly from concept to execution. Process is often reduced to the blink of an eye, a minimal witness to the speed of transfer between idea and material presence. The hand of the artist remains invisible throughout his work since manufacture and installation are activities usually performed under his instruction by others, from skilled craftsmen to gallery assistants.
Brüggemann's general refusal to mystify process results in a lack of codification in the work, in transparency. In these works, however, the artist allows the industrial materials of paint, mirror and raw canvas to act as supporting structures for a series of simple gestures. Contrary to traditional painting however, their efficacy is not framed by craftsmanship or duration, but by speed and decisiveness.