Credit Karma, 2017
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Paul Kneale transforms the scanner from a piece of technology used to endlessly reproduce copies, into a system capable of individual self-representation. In order to produce his scanner-paintings, Kneale begins by making open scans: scans with nothing placed above the copy bed. The resulting compositions are thus the scanner’s interpretation of the spatial conditions immediately above it. The LED strip moves across the glass and registers the amount of light passing through it. The time in which this takes place results in different degrees of resolution: a slow time will leave a high-resolution scan while a fast scan will be in low-resolution. Kneale is interested in what the layering of different scans achieves, pursuing their potential to create what he defines as a ‘time-sandwiches’; temporal stratifications that confer aesthetic as well as philosophical depth to the work.
The glitches that occur in the scanning are an important part of Kneale’s artistic process: what the artist terms as ‘productive misuse’. The flaws enable for the idiosyncrasies of the individual scanners to appear, enhancing certain traits that result in varied and unpredictable results.
Here, the acid-green transitions in shade across the canvas and the fractured shapes appear to offer different textures to the canvas as a whole.