Michiel Ceulers: Der Charme einer vorbeigehenden Frau steht in der Regel in direktem Zusammenhang mit der Geschwindigkeit ihrer Bewegung, 2013

The most paramount matter for Michiel Ceulers is the paint that he applies thick layers of and, thus, moulds the picture screen. The painting „Der Charme einer vorbeigehenden Frau steht in der Regel in direktem Zusammenhang mit der Geschwindigkeit ihrer Bewegung“ has the characteristic grid structure, that is in many of his works, shimmering between its flat spaces and the accumulations of the paint. Growing out of the picture the paint becomes independent and seems to emancipate itself from the canvas. The relief-like layers of paint build the picture’s structure in a three-dimensional way instead of illustrating it. They mark the picture as an object and provoke a tactile experience. Although the viewer can experience the picture only visually, the physical state of its ‘body’ becomes palpable through visible interventions by the artist that tell of his interaction with the picture. Michiel Ceulers constructs his paintings, drawing from a variety of artistic gestures and actions that give an insight to his working process.