The surfaces of Scheibitz’s works are far from uniform: streaky brushstrokes and drips of colour permeate the canvas, and some sections are left unfinished, merely sketched in. These visible traces of Scheibitz’s process serve to activate his paintings… Each of Scheibitz’s paintings features some recognizable… object. [his chosen] subject matter is then thoroughly abstracted so that only the vestiges of its structure shine through. Solid forms are broken up into jagged planes of colour, which are thickly outlined with contrasting hues in a manner reminiscent of the late nineteenth-century fauvists. Each shape manages to stand boldly alone, yet the composition never seems unduly fragmented; the shapes somehow coalesce to form a coherent whole. Artspace Review, Thomas Scheibitz, 18 April, 2002