Paul Kneale

Après Garde II, 2018

Inkjet on Canvas

211 x 147.5 cm


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Artwork
Description

Paul Kneale’s scanner paintings translate the tangible into the intangible, creating a digital language conveyed by these colourful, psychedelic layers that explore our relationship with the digital world. The artist’s process utilises cheap scanners that capture the manipulated light of his studio. Despite a laborious practice that involves repeated scans and prints and infusions in acetone solution, the result is a vibrant and refreshing impression of the environment. The final product features the raw, colourful inks of the printer blending into one another in lines and shapes of varying prominence that fade into the background, in a new technique that resembles a watercolour brushstroke.

Kneale’s artwork comments on the “new abject” responding to Julia Kristeva’s 1980 text ‘Power of Horror: An Essay on Abjection’, identifying a modern disorientation caused by our immaterial inhabitation of new technologies. The artist grew up alongside the evolution of the computer and saw the world becoming gradually more digitalised in the enigmatic dimension of the Internet. The artwork’s creation process is consequently a reverse of much of today’s art that is created digitally to comment on or imitate our environment; Kneale’s artworks are created by the environment directly, creating an image via a computer.

In this new series of scanner paintings, Kneale pushes boundaries one step further, engaging the notion of the abstract painted mark – the Pollockian virile brushstroke – as standing for the artist’s subjective existence in time. Indeed, Paul Kneale does not challenge its authorship, but rather the apparent sincerity of its psychic condition.

About
the artist

Born in 1986 in Canada, Paul Kneale received his MFA from the Slade School of Fine Art (London) in 2011 and has been working closely with ARTUNER since early 2015.

Work by Kneale will be included in the forthcoming exhibition Peindre la Nuit at Centre Pompidou Metz (opening October 2018). Some of his latest scanner paintings were recently on show in the Contemporary Photography Forum exhibition of the Boca Raton Museum (Florida, USA). In the past year, his works have been featured in the Moscow International Biennale for Young Art, the Rubell Family Collection and at the prestigious Thetis Gardens in the Arsenale Novissimo (Venice), in a group exhibition on view during La Biennale di Venezia 57°. He lives and works in Toronto.

Paul 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.

The artist has been manipulating cheap scanners to generate a unique way of painting. Rather than capturing an image, the scanner creates an impression of the ambient light within the artist’s studio, bearing the abstract visual trace of the atmosphere surrounding the machine. The process is integral to his new works: the scanner paintings are built up from unique impressions and display multiple layers and striations often between transparent sheets and the colours resulting from varying light conditions in the artist’s studio.

The contrast between machines and their serial products results in what Paul Kneale defines as the “new abject”. In response to Julia Kristeva’s 1980 text ‘Powers of Horror: An Essay on Abjection’, the artist identifies a “new abject” for the information technology.

Describing today’s inherent revulsion for brand new materials, he pinpoints a disorientation in the consciousness of time and location, caused by our immaterial inhabitation of new technologies. This sentiment is embodied in works which often address, in original and innovative ways and media, the simultaneity and layering occurring in our ever-linked virtual existences.

Kneale, in an interview with i-D, defines the Internet as ‘a whole way of being in the world’. His practice aims at investigating the role of art in this new enigmatic dimension. Paul Kneale is an artist that explores the possible physical manifestations of the digital. His oeuvre reflects on the implications of algorithms and information flux. While these may seem very abstract entities, they constitute and shape our domestic daily environment.

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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
on Artuner

Part of the
exhibition

October 1st, 2018 until
November 9th, 2018
Curated by ARTUNER