(...) In this respect, Brixy’s painting can be considered to be specific to the place. By providing exemplary representations of scenarios of the transgression of boundaries – of time and space, of nature and culture, of place and painting – it is an expression of a gesamtkunstwerk conception despite its mono-medial character. Brixy’s concept of the penetration of life and painting is governed by an obsession with the realization of a painting of the whole, and a personal embodiment of the whole.
The painter’s life provides a model for holistic experience, characterized by a stimulating sensualism whose disquietude is transferred to the audience. The paintings, which were created in a controlled frenzy of action, aim to achieve an activation of all sensory capabilities to perceive aesthetic experiences, and define the aesthetic experience itself as a continuing performative act brought about by the indissoluble tension between the represented and the representation, between the viewer and the work of art. (...)