Raoul De Keyser had been working since 1964 with a comprehensive and personal body of work that can be. not encased in a fixed category In the sixties, he was seen as an important representative of the New Vision in painting, with recognizable motifs from everyday life are reduced to abstract color fields and lines. In 1966-67 he painted commissioned along with Roger Raveel , Elias and Lucassen the cellars of the castle Beerveldestraat in East Flanders . From the seventies evolving his style to the abstract with shapes derived from scenic tessellations with memories of line patterns of football. So he comes to the floor to form and structure of his painterly work. Flemish art critic Ludo Bekkers describes it as follows: "Never has a work off One can often at the edges of the canvas, how it was painted to achieve an acceptable result, but completely acceptable, it is obviously not, because the research.. continues on the next work, sometimes with a different approach, a different formal structure, different colors. And the process of adaptation, self-correction and painting is so fascinating about this work. Its meaning is not in the memory of reality, but in the quest for the ultimate painting whose previous steps are the memory. " De Keyser's work is distinguished by subtlety and says a lot with few resources. His eyes abstract canvases, but are usually based on motifs from his daily life as a sunscreen, a heck of a tree in the garden.
De Keyser's work was present at many exhibitions such as Documenta (Kassel, 1992), Der Spiegel zerbrochene. Positionen zur Malerei (Vienna, Hamburg, 1993), Unbound. Possibilities in Painting (Hayward Gallery, London 1994) and Trouble Spot. Painting (MUHKA, Antwerp, 1999). His work was shown at the Venice Biennale in 2007.
- Culture Prize of the Flemish Community