Paul Kneale

Hollywood Existential, 2015

Digital Print on Linen

152.4 × 106.7 cm


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Additional Information

Purchasers of the work will receive the file on a usb key in a presentation box. The buyer has the right to print and possess one copy of the work at a time. If so desired, the artist will produce the work for the buyer.

Artwork
Description

The work of Paul Kneale concerns the advent of the digital era, but his artistic explorations are of loftier, more cerebral concepts than representing the mere foibles of 21st Century technology. The landscape of the digital is a key facet of his practice, as he explores the way in which it can be manifested and reimagined in the flesh of the physical object.

Boldly distancing himself from the boundaries of traditional representation the series featured in Studioscape is entitled Post-post-post production. The five works featured are made with cheap, consumer grade scanner-printers; the scan function is used with the lid open and nothing on the bed. What results is a capture of multiple elements of the surrounding environment; the glass, the space above, and the light conditions in Kneale’s studio at the time; daylight, darkness, strip lighting. The image is also affected by the different resolutions of the scan, and their respective exposures times; from a few seconds to maybe half an hour or more. The layering which can be seen in some of the images is a result of this, and also achieved through feeding low grade office supply materials, like printable transparencies, through the print function while the scan is being made. This creates an opaque print from the commercial RGB inks, which can be then fed back through with another scan on top, or they themselves can be scanned. Kneale describes this layering as a ‘time sandwich’. A fast, low resolution scan over a slow high resolution. The image of time which is represented becomes complicated and multiplied. Being cheap scanners, their capacity to deal with such labours is short-lived. Some will wrongly interpret the colours they have just printed, producing wild acid tones and neons. Or the machine will jam while threading the plastic sheet back through again, ripping or even melting it. The actual marks of the physical body of the machine can become visible, in addition to its image-producing disposition. In the final element of production, the computer files are used to print the image into the surface of an archival canvas at a large scale. This material, which is traditionally used for painting, permits and intense depth of colour and detail from the inks used.

Kneale concedes that while the images are records of the environment, there is something more complex in their significance. In the scanner paintings, translations of matter and form are occurring; there is a new hybridity that a language is being developed for. Yet to define the pieces as ‘abstract’ is not wholly accurate in the context of art movements. Kneale describes abstraction as something which has a foundation in the ‘definable’, and then moving away from it into gesture and symbol. Yet in the Post-post-post production series, there is no genesis in the formally representable. The products and parts of technology can be depicted, but the digital has always been an abstract idea; Kneale has succeeded in transforming it into a tangible realm.

About
the artist

Nato in Canada nel 1986, Paul Kneale a ricevuto il suo MFA dalla Slade School of Fine Art (Londra) nel 2011 e dall’inizio del 2015 collabora a stretto contatto con ARTUNER.

I lavori di Kneale sono stati inclusi nella mostra Peindre la Nuit al Centre Pompidou Metz (Ottobre 2018). Alcuni dei suoi ultimi scanner paintings sono stati recentemente in mostra in occasione della mostra Contemporary Photography Forum al Boca Raton Museum (Florida, USA). Negli ultimi anni, i suoi lavori sono stati presentati alla Moscow International Biennale for Young Art, presso  Rubell Family Collection e nei prestigiosi Thetis Giardini nell’Arsenale Novissimo (Venezia), in un group show durante La Biennale di Venezia 57°. L’artista vive e lavora a  Toronto.

Kneale è interessato da come il mondo sia costantemente tradotto in un linguaggio digitale che semplifica, banalizza e de-personalizza I contenuti e le persone a cui si rivolge. L’artista esplora il modo in cui gli aspetti digitali della nostra esistenza possono manifestarsi ed essere re-immaginati nel corpo di un oggetto fisico.

L' artista ha manipolato scanner economici per generare un modo unico di dipingere. Invece di catturare un’immagine, lo scanner crea un’impressione della luce dell’ambiente all’interno dello studio dell’artista, mantenendo la traccia visiva astratta dell’atmosfera attorno alla macchina. Il processo è integrale alle sue nuove opere: gli ‘scanner painting’ sono formati da impressioni uniche e da multipli strati e striature spesso formati dal connubio fra fogli trasparenti e i colori risultanti dalle varie condizioni di luce nello studio.

Il contrasto fra tecnologie e i loro prodotti seriali risulta in quel che Kneale definisce come il ‘nuovo abietto’. In risposta al testo del 1980 di Julia Kristeva ‘Powers of Horror: An Essay on Abjection’, l’artista identifica un ‘nuovo abietto’ per la tecnologia d’informazione.

Descrivendo l’odierna repulsione per nuovi materiali, egli identifica uno stato di disorientamento nella cognizione del tempo e dello spazio, causata dal nostro abitare immateriale nelle nuove tecnologie.Questo sentimento si incarna in opere che spesso si riferiscono, in tecniche e modi innovativi e originali, alla simultaneità e alla stratificazione che accadono nelle nostre esistenze virtuali sempre ‘connesse’.

Kneale, in un’intervista con i-D Magazine, definisce Internet come ‘un modo tutto suo di essere nel modo’. La sua pratica mira a investigare il ruolo dell’arte in questa nuova enigmatica dimensione. Paul Kneale è un artista che esplora le possibili manifestazioni fisiche del digitale. La sua opera riflette sulle implicazioni di algoritmi e informazioni in flusso. Benché queste possano sembrare entità astratte, esse costituiscono e danno forma al nostro ambiente domestico quotidiano.

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Kneale is interested in how the world is constantly translated into a digital language which simplifies, trivialises and depersonalises content and the people it addresses. The artist explores the way in which digital facets of our existence can be manifested and reimagined in the flesh of the physical object.

 


Paul Kneale
su Artuner