Paul Kneale

Global Suburb, 2017

Scan transfer on photo paper

29.7 x 21 cm


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Artwork
Description

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Paul Kneale’s practice is concerned with the emergence of the digital as a system of vision. Instead of looking at the symbols produced by our prolific, image-driven society, Kneale reaches straight to the heart of the issue, exploring how this vision even exists at all, what is its basic nature, and how does that basic nature lead to composition and form. Almost like an animism of machine vision. It is what the artist describes as “The experience of being in the Matrix vs. what the Matrix looks like from the perspective of the machines running it!

Paul Kneale’s new transfer scans series are created following a process similar to that of his emblematic scanner paintings. Here, the artist runs his copying appliances with nothing on the bed and keeps their lid open: the LED strip moves across space free to capture light fluctuations of the neon fixtures, imperceptible dust particles, invisible (to human eyes) smears of dirt. All such elements are obtained through multiple recordings – some fast, some slow – which in turn are stratified on top of each other to create what Kneale describes as ‘time-sandwiches’. In the transfer scans, the artist prints the resulting image on the non-absorbent side of an acetate sheet. Before the ink is allowed to set, he transfers the composition on paper with the aid of a solvent.

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.

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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

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