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.