"PXL THIS is something that has to be seen and experienced at least once in a lifetime."
-Santa Monica Mirror, 2-15-06

"Sometimes the best art comes from the worst medium. The Fisher Price PXL-2000: no smoke, no mirrors, just plain old down-and-dirty technology from the 80's. It makes cool films, as evidenced by the 15th annual PXL THIS film festival."
-Michael Mannheimer, LA Alternative Press, 2-17-06

"Since the start of the 21st century, I've attended the annual screenings of the PXL THIS toy camera festival at San Francisco's OTHER CINEMA. I have discovered several patterns of Pixelators that are similar to the pioneering video artists of the 60's. One, they reclaim film as a one-person project. Contrary to the popular belief that filmmaking must be collaborative, the solo vision is dominant and documented here. Two, in PXL-land, personal and deeply individualistic issues - frequently in the form of confessionals - are dominant. Pixelvision forms a quiet sub-genre within the larger category of the 'personal essay' film, an intimate art-world of privacy, whose entries frequently resemble message-in-a-bottle intimacies. These patterns show that expanding the vocabulary of moving image art is still possible - and, indeed, is growing."
-Steve Polta, San Francisco Cinematheque curator.

In the LA WEEKLY, Feb 18, 2005, film editor Ron Stringer praised PXL THIS 14:
"In this reprise of the latest selection of short subjects (27 in all) from the eccentric and somewhat inbred coterie of filmmakers dedicated to making art with their Fisher-Price PXL-2000 toy cameras, at least two of the films seem especially suited to that perversely low-res medium.  In Lisa Marr's RUGRAT, a meditation on William Randolph Hearst's passionate, if short-lived, interest in Navajo weaving as the signature motif for his retreat at San Simeon, the fragmentation inflicted by the PXL process on the geometric patterning of the Indian blankets serves nicely as a metaphor for the fickle newspaper mogul's wandering field of attention. Then, in Elric Kane's NIGHT, as lovers at the end of an affair struggle to decide which of their personal reminiscences shall be canonical, their efforts are reflected in the difficulty we may have buying into the degraded PXL images as an adequate reflection of reality. Also noteworthy: the Craig brothers' BABBLEFESTO ONE and TWO, both of which pack one hell of a kick into their four-minute length, and Juniper Woodbury's MY MAGIC EIGHTBALL, an investigative documentary in which the PXL-2000 camera finds its way back into the hands of the consumers for which it was originally intended."

“In the past years, PXL THIS gave us some fascinating work…definitely an out-there experience. PXL videos have made it to such hallowed domains as the Whitney Museum of Art, the Museum of Modern Art, Sundance, and the London Film Festival, where they have been admired for their characteristic spontaneity, highly personal perspective, visual uninhibitedness and raw, grainy truths. The power of PXL is somehow indisputable. The medium becomes a means of alchemically altering the most mundane realities. Blurred, off-kilter black-and-white images transcend mere out-of-focus mediocrity to become captivatingly surreal. Body parts (eyes and mouths are favorites) acquire personalities of their own. Virtually every selection on the PXL THIS program evidences an undeniable charm and talent.”
-Mary Beth Crain, LAWEEKLY

"All the PXL THIS videos reflect festival organizer Gerry Fialka’s commitment to the freedom produced by making art without financial constraints.”
-Holly Willis, LA READER

“PXL THIS is worthy of praise…spellbinding. The shifting brick of light and dark that form the Fisher-Price PXL 2000’s picture lend themselves well to personal essays, creating an invigorating mesh of ambiguity and intimacy in every frame.”
-Paul Malcolm, LA WEEKLY

”PXL THIS is a welcome highlight in the Los Angeles media scene celebrating the rich lexicon available in a tool which might initially seem rather limiting.”
-Holly Willis, RES MAGAZINE

“Gerry Fialka’s PXL THIS festival snaps, crackles and pops off the screen with the funky, user-friendly energy of real first-person cinema. Goofy, gorgeous, and altogether groovy, his provocative program of pieces produced with the Fisher-Price PXL 2000 toy video camera is not only downright entertaining, but more, its blipping and buzzing black’n’white picture-bits coalesce into a veritable inspiration to all those who cherish the playful, spontaneous gestures and low-cost of electronic folk art."
-Craig Baldwin, OTHER CINEMA

COMMENTS on Fialka’s workshops:
"Gerry Fialka was a brilliant and impassioned lecturer, weaving together theories of art, Marshall McLuhan and Pixelvision, he held the class spellbound."
-Dr. Holli Levitsky, LMU

"Insider secrets every filmmaker should know: Gerry Fialka is yet another exemplary devotee of cinema. For several years, Fialka has curated PXL THIS. Thanks to Fialka's penchant for the weird and wild, L.A. gets to see
material we wouldn't otherwise.
-Holly Willis, THE INDEPENDENT FILM & VIDEO MONTHLY, April 2000

"Fialka's lecture on Pixelvision and McLuhan was great. He engaged with the students and interacted with them a great deal during his talk - no small feat considering that there are 110 students in the class and it takes place at 5 o'clock at night, a time when many of them are tired and hungry. His talk succeeded in generating interesting class discussion. The students found the material and ideas that he presented to be exciting and inspiring."
-Ben Benjamin, University of California, San Diego

"Gerry's preparation for 'Culture Jamming and McLuhan' was obviously extensive and well considered. Gerry's oral commentary in my class was articulate, insightful, humorous and timely. Gerry's presentation flowed nicely, and he kept my students in rapt attention for the duration of the three-hour course - no mean feat."
-Todd Belt, CSU, Long Beach

"With humor and skill, Fialka helped my students and myself understand how 'media' can inform, entertain, manipulate and control. He took the questioning and learning process to a deeper level, to which my students responded with enthusiasm."
-Michael Grodsky, The Art Institute Of Los Angeles