Paul Kneale

High on an End Note, 2017

Inkjet on Canvas

200 x 140 cm


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Artwork
Description

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Paul Kneale has focused his ‘Post-post-post-production Series’ on investigating the boundaries between the digital and the physical, as well as our shifting perceptions of art, technology and medium conventions. In order to do so, Kneale has exploited the latent creative potentialities of an ordinary piece of high technology, encased in a flimsy and cheaply produced plastic body: the scanner.

By layering up multiple strata of fast, low-resolution scans and slow, high-definition ones, conducted with open lids and empty copy beds, and through running over-worked crumpled up transparencies, the artist creates fascinating and complex compositions. Indeed, pushing the machinery to the point of breakage has enabled Kneale to induce dramatic effects, such as the acid tones of unbalanced light and colour sensors, or the melting shadows of overheated plastic components.

He describes each machine as having its own whimsical and idiosyncratic personality. By extensively probing the capabilities of his medium of choice, Kneale has come to regard his multiple scanners as a set of paintbrushes, allowing him to achieve diverse effects. Although abstract in appearance, Paul Kneale’s scanner-paintings portray very physical elements, the ones that often escape our attention as they are beyond the reach of the human eye: fluctuations in light, speckles of dust, imperceptible fingerprints. Perhaps this is why we can so easily recognise in them uncanny shapes and familiar spectres.

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