Paul Kneale

Duplicate Essence, 2018

Inkjet on Canvas

210.8 × 147.3 cm


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Artwork
Description

Paul Kneale, born in Canada in 1986, has grown observing the relentless expansion of technology – wondering how artistic representation would be subject to change in this new, digital period.

Kneale – in addition to his original technique of using open, consumer-oriented scanners to capture an impression of the atmosphere in his studio – merges fine art practices and technology, as he melts the print with an acetone solution in order to transfer it on a different surface, which become his ‘scan transfers’ series.

In his new painterly series, the inks become his paint and acetone the diluting water, and become integrated in his technique to create scanner paintings.

Such practice doesn’t allow the artist to exactly predict the final result; Kneale experiments with acetone and transparency, bringing his artistry closer to a painting narrative, while keeping the bond with the scanner consistent through the entire process.

The vibrant colours reference the printer’s CMYK colour palette and, consequently, tie the artwork to the scanner; the rainbow drips and melts over the surface – blending the colours together as they are, eventually, printed on a large canvas.

Kneale’s artworks are a new way to read reality, a combination of digital and fine art that transcends binary code and relies both on technology and physical substrates (canvas or paper). Paul Kneale explores a new, re-imagined, way to experience reality both as a digitalised file and as a tangible canvas.

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). 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

May 3rd, 2018 until
May 31st, 2018
Curated by ARTUNER