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Michiel Ceulers makes paintings that investigate the medium of paint. At first these inconvenient, difficult to read, uncompromising and very diverse paintings are hard to grasp but on a second and third look these small, rather dirty paintings are very precise and sharply handled, cheekily referencing previous historical styles.
Ceulers produces modest, greasy paintings that live with him; they are his belongings. Jostling for position in his small studio apartment they are treated roughly and poorly, they lean amongst and against each other (whilst some are still wet) producing scaring and marking. The dirty marks, thumb-prints, ripped and badly stretched canvases are integral to the work; he is not interested in beautiful or representational pictures, he is simply analysing shapes in colour, brushstrokes and light. Once the paintings have left the confines of his home/studio they cease to be in a constant state of flux and they finally become.
(Rod Barton 2008)