“(…) Looking at the paintings more closely we first of all notice the many layers of colour which form the pictures as such, put on with brush, hand or spatula and then partly scratched off again. At this level you can read the paintings as topographical landscapes disclosing their structure and inner coherence. There are lines, spaces and fluid movements; the colours have flooded the canvas like lava.<\/p>\n
Of course, we can perceive concrete shapes, recognise vines and grapes, and yet these are ephemeral, can hardly be grasped as if one looked at an impenetrable thicket or network without being able to tell which is the foreground and which the background. But this is not all: In some way colour and form emancipate themselves on the canvas and almost seem to lead their own lives. In his paintings Brixy achieves a degree of abstraction which could also survive easily without any hints at figurative reference. <\/p>\n
Speaking of figure(s): Our painter would not be Brixy unless he hid a figure in the painting here and there. It has always been the aim of his style of painting to capture vitality, the very flow of life, and therefore man and nature form an imperative and natural whole in his pictures. (…)”<\/p>\n