The paintings of Michiel Ceulers embody the seductive messiness of unexpected coupling. In his Love Birds series Ceulers literally grafts two unlikely paintings onto one another, leaving evidence of his seemingly insouciant matchmaking. His Corner Pieces join paintings at 90-degree angles, creating new wholes and demanding a different type of viewer interaction. The diversity of Ceulers’ paintings is initially hard to make sense of, but they are ultimately united by a reckless and yet controlling logic. The act of painting is paramount in Ceulers’ work; he never hides his technique, which often relies on choreographed mistakes and subtractive measures. You can see the angle from which paint was sprayed; the way tape was ripped off; where panels were bolted together; and where surfaces were sanded away. Fragments left by previous studio residents make their way into his work, as do defiant art historical references. Ceulers strips away what’s precious and demands we live with his art, just as he does in his own untidy studio.