Richard Brixel’s description of his artistic process
Most of my sculptures I model in different sorts of clay and then cast them in bronze.
At the academy my teacher Eberhard Höll taught us the technics of bronze casting so when leaving school I went to scrapyards to buy the used bronze bearings from old motors.
We took part in the setting up of the artists collective bronze studios in Stockholm were we worked for many years. Other artist went for summer holidays so we had all the bronze casting studios for ourselves. It was hard work but we survived taking part in exhibitions during the rest of the year.
Later we also set up a bonze-casting studio at our home but I realized that this was a waste of time so I went all around Sweden, Scandinavia and Europe to find the best bronze casters. In Italy I visited 220 bronze foundries in 1973. Two of them I found were up to my requirements, one in Milan and the other one in the small Tuscan town of Pietrasanta. Master was the young Massimo del Chiaro and Pietrasanta is situated close to the Mediterranean sea. I stayed there for more than 40 years, modeling and casting there every year.
In 1998 I went to China and soon found the excellent bronze caster Mao Idong whose technics and ways of working is even better than what I have ever seen elsewhere so now I work and cast my sculptures there.
Often I get my ideas about sculpture in dreams, reading, sometimes out in nature and often in talks and discussion with my close ones. Then I sketch, when younger often also in paintings, now mostly directly in clay.