Both this autonomous publication by Jap Sam Books and the exhibition at the historic estate Oud Amelisweerd by Centraal Museum Utrecht address Schuil’s work of the past twenty years. As the title of this monograph indicates, the focus is on three series: -- (untitled), BLAST and HEAT. In all three, the possibilities of the paintings and their way of producing meaning are investigated with monumental paintings on aluminium, and in ways as enigmatic as they are concrete. 

 'Schuil begins with a titanium white primer. Like the aluminium, this white works through in the colour that follows. Next, he draws the shapes on the primer in pencil, with triangle and ruler. The windows and the beams, which recur in almost every work after 2000, are then cut out. On the basis of his provisional working drawing, he builds the image, with a rational plan and an intuitive sense of proportion.' - Gerrit Willems

'A painting by Han Schuil is anything but didactic and it is not a work of visual art concerned with personal histories or social issues. Schuil plays on a theme that escapes translation. This does not mean the paintings are without content. The freedom Schuil takes to make what he wants reflects the freedom of the viewer to think what he wants. As a viewer, you do not have to follow the same path from the work the artist followed to the work. If all goes well, the thoughtful making carries you to thoughtful looking.' - Gerrit Willems

Zippora Elders has an international practice as curator, writer and connector. Since 2021, she has been Chief Curator, Head of the Curatorial Department & Outreach of the Gropius Bau in Berlin. Prior to that, she was general and artistic director of Kunstfort bij Vijfhuizen, co-curator of Sonsbeek Force Times Distance and curator at Foam, Amsterdam.

Laure van den Hout  is director and editor-in-chief of Mister Motley, the online magazine that connects art and life. While studying graphic and typographic design and the Master Artistic Research, both at the Royal Academy of Art in The Hague, she discovered that language is her material. Van den Hout wrote texts for the Stedelijk Museum Amsterdam, Tubelight, the Dordrechts Museum and the Prix de Rome, among others, and (co-)edited several catalogues. With her essay 'Wat is hier zonder gemis' she won the basic prize of the Prijs voor de Jonge Kunstkritiek in 2014.

Gerrit Willems studied social sciences at the University of Utrecht and art history at the University of Leiden. He worked at the educational department of the Haags Gemeentemuseum, was curator of ancient arts and crafts at Stedelijk Musea Gouda, director of Centrum Beeldende Kunst Dordrecht, curator of art centre DordtYart and curator of modern and contemporary art at Museum Dordrecht. In addition to his work, he was active as an advisor and director (including at Fonds BKVB, Stichting BK-Informatie, Club Solo). He has written on topics as diverse as ancient art, modern and contemporary art (such as on Jan Andriesse, Hans Eijkelboom, P.L. Mol, James Turrell), crafts, art theory and art policy. For the Dordrechts Museum, he curated three exhibitions with publication on contemporary Dutch painting: What's Up! (2011), Stop Making Sense (2015) and De meest hedendaagse schilderijententoonstelling (2018). The latter two together with Han Schuil as co-curator.