Paul Kneale

Event Horizon Series

galvanised metal,

glass encased neon components

Variable


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Artwork
Description

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These works are the newest and largest from an ongoing series that combines urban objects intended for transmitting and disposing, with custom made neon lights. 

The first works in the series were titled ‘Event Horizon’, the term for the edge of a black hole from where no light escapes, and mounted onto heavy duty urban beach trash bins.

This new development in the series uses 3m diameter aluminium satellite dishes — a type often used by clandestine radio operators.  The satellite/radio dishes are mounted on top of 2.5m high, recycled streetlight poles, laying flat.  Instead of antenna they are topped with a floating ring of neon light.  Fabricated in collaboration with a specialist producer, the neons are made from clear tempered glass, allowing the current of 9000 volts of electricity moving through the inert neon gas to be visible.  Their intense orange-red colour is only from this this elemental reaction between electricity and gas.

The trio of sculptures are installed at the edge of the Thetis Garden, where the walled enclosure opens onto the Arsenal entrance and ship yard. Placed here like ancient signal fires at the point of entry from the Venetian lagoon, they also suggest a futuristic interstellar transit.

About
the artist

Paul Kneale was born in Canada (1986) and now lives and works in South London.  He received his MFA from the Slade School of Fine Art (London) in 2011 and has been working closely with ARTUNER since early 2015.

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.

Recently, 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.

Coinciding with La Biennale di Venezia 57°, Kneale's latest work is currently featured in COMMAND-ALTERNATIVE-ESCAPE (powered by ARTUNER), a group exhibition organized by the School of Curatorial Studies in Venice on view at the prestigious Thetis Gardens in the Arsenale Novissimo. Exploring the increasingly blurred boundaries of private and public life, COMMAND-ALTERNATIVE-ESCAPE will reflect on the archetypal dichotomy between freedom and security. Visitors will be confronted with a new large-scale sculptural installation by Kneale as well as works by Joseph Beuys, Jan Fabre, Michelangelo Pistoletto, Allora & Calzadilla, and Jesse Darling.

The contrast between machines and their serial products results in what 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.


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.

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.


Paul Kneale
on Artuner

Part of the
exhibition

May 10th, 2017 until
November 26th, 2017
Curated by ARTUNER