Paul Kneale

Experience Economy in Retrograde, 2017

Inkjet on Canvas

288.4 x 412.75 cm


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Artwork
Description

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Paul Kneale’s scanner-paintings from the ‘Post-post-post-production’ series stroll off the beaten path and take a novel approach to two of the central concerns of painting: the exploration of space and light. Starting his works with an open lid and nothing on the copy bed, Kneale introduces an element of chance in his compositions. Indeed, it is impossible to predict what will be the first image rendered by one of the many scanners used by Kneale as a set of paintbrushes. Light fluctuations, dust particles, dirt, subtle fingerprints; all these elements come into play to form unique and capricious arrangements of textures, shapes and colours.

‘Experience Economy in Retrograde’ is the scanner painting produced by the artist at the time of writing. Its sheer size seems amplified in its apparent depth: here, the many layers resulting from multiple successive scans are distinctly evident. They encourage the viewer to venture in its abstract abyss, punctuated by patches reminiscent of the ‘floaters’ often seen when experiencing light-headedness. It is a smooth, harmonious nothingness that is simultaneously thrilling, nurturing and threatening – as all uncharted territories are.

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.

His latest works are currently on show in the Contemporary Photography Forum exhibition of the Boca Raton Museum. 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.


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

February 28th, 2017 until
April 15th, 2017
Curated by ARTUNER