The Image as Laboratory
At the core of the artist’s practice lies a recurring procedure: the systematic displacement of photographic evidence through mirroring, rotation, and modular recombination. Brueck’s point of departure is invariably an existing photographic image of architecture or landscape, which is then subjected to a precise and deliberate process of digital intervention. Through mirroring, a motif is stripped of its inherent orientation and legibility. Through rotation, the very frame of perception is destabilized. What initially appears familiar is thereby opened onto something wholly unprecedented.
The resulting works resist immediate comprehension. They unfold gradually, stratum by stratum, positioning the viewer before a fundamental question: what, here, is real, and what is construction? For this is precisely the artist’s demonstration — that photographic credibility is, in every instance, a construction, one whose meaning is contingent upon and shifts with the viewer’s perspective.
