(...) The viewer will immediately recognize that Brixy studied sculpture. He shifts volumes over the canvas. His painting is an act of considerable strength. This conqueror of canvases works with the paintbrush, the putty knife and the hand. He grasps the paint directly from the bucket, from the tube, mixes it by hand, wipes and digs lines, causes lava to gurgle and cooling water. This is not entertainment but existentialism. Brixy stirs and creates reliefs and shows us how a classical painterly basis with traditional elements can be modernized in different forms.
(...) Brixy slams plenty of paint onto the stretcher-frame square. He externalizes his innermost being. Bulges and insular formations cause the gaze to trip up as it feels its way across the canvas. One thing vies for space with another. Brixy spontaneously uses his hands, he streaks and circles around the painterly substance with a kneading hand and an examining eye, and spurs on the pictorial creation with his painter’s hand. The painting has just one goal then: the realization of its material diversity. A wide-angle view of the world causes the paint to whirl. The sculptural zones of existence created in this way elude conformity. Our imagination determines whether the paint is a border river between facticities or a damp illustrative fog. (...)
director Künstlerhaus Bethanien (Berlin)