In this show, language becomes an inquiry. The works are neon texts, neon signs, inscribed objects and photographs.

The minimal appearance of Brüggemann’s statements reduces description to a point of no return. In works such as NO, NO, NO, NO there is a concern with reiteration, and the different color of the fourth and final NO compels the work forward. The words are picked out in white neon apart from the final one, spelled out in crimson. The negation thus drives the viewer towards its final utterance, suggesting a change of emphasis or terminal point: the end of nothing. We describe our existence by way of the experiences and things that are remarkable or salient; we celebrate what jars the norm or stands out from the ordinary, whilst ignoring and forgetting all that is commonplace and repetitive. Brüggemann reverses this preference, not by showing us the hidden beauty and pleasure derived from the overlooked, but through his insistence on rendering visible, on giving form to what can only exist as a concept.

Brüggemann abstracts neons for the first time in a new series Obliteration. The scribbled neon text is a gestural analogy to writing and un-writing. NOTHING, a stack of eponymously inscribed cardboard boxes, explores the idea of the void, or rather, as proposed by the French writer Georges Perec, what surrounds the void; the box then serves as a reminder of a space that is beyond our knowledge and powers of description. The body as a vessel is also not exempt from inquiry in this show. Brüggemann’s OFF, a photographic work, shows a selection of frames depicting the rear view of a woman in black against a black background. Her silhouette seen again and again is repetition subtly traced against the dark scenery and the slightest differences in the subject’s movement between the images is at the same time elusive and provocative. The accompanying book project for OFF will be released in early November.