Paul Kneale

Days that End in Y, 2015

Digital Print on Linen

200 × 140 cm


Interested in purchasing this work?

Enquire

Additional Information

Accompanied by a certificate of authenticity.

We offer collectors a range of shipping options including a variety of specialist art couriers.
Please allow four to six weeks for the artwork to arrive after purchase.

Artwork
Description

Paul Kneale’s scanner paintings directly speak to a culture that is deeply enmeshed in the digital sphere. Questions of time flow and the physicality of the digital intertwine and produce an original visual vocabulary able to describe such hybrid realities.

According to the artist, each of the cheap consumer grade scanner-printers he uses to produce his artworks has its own personality. This helps to determine the uniqueness and strong character of each piece, along with the fact that they are the result of a particular ‘time sandwich’ – as the artist describes the layering of a fast, low resolution scan over one that is slow and of a higher resolution one. Different exposure times, like what happens in photography, generate different effects; when these are combined the ensuing image is more complicated, ‘thicker’.

The patterns, shapes and colours produced by the machines in their recordings of the atmosphere above the scanner’s open bed are capricious and staggering. Kneale describes his process as ‘productive misuse’: for him it is also a way of better understanding these actually high-tech objects, which have become so mundane today that despite being very technologically advanced, are cheaply mass-produced and not built to last.

‘Days that End in Y’ offers an Impressionist-like set of hues: what seems a softly pixelated image is actually the result of many consecutive stratifications. The layers, although they resemble a pattern, are in fact a totally distinct spectrum of pixels. The rainbow tonalities suffuse the canvas like an opalescent nebula. The ‘first’ layer of the image gives way to a second one and so on, inviting the viewer to dig deeper in its density and immerse oneself, lose oneself even, in the multiple strata.

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 have been included in the exhibition Peindre la Nuit at Centre Pompidou Metz (October 2018), Contemporary Photography Forum exhibition of the Boca Raton Museum (Florida, USA), 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. To follow Paul Kneale and receive exclusive updates, click here.


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

November 11th, 2015 until
January 25th, 2016
Curated by Eugenio Re Rebaudengo