Missed Universe, 2017
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Paul Kneale uses scanners like a paintbrush set; he manipulates and reconfigures them in order to generate diverse effects. The work is an impression of the immediate space above the copy bed and of the ambient light in Kneale’s studio. The artist’s method means that he is in control of two factors: the conditions in which he makes the scans and the operative quality of the scanner he uses. The artist cannot know for certain what aesthetic properties the scans will have, though through repetition and experimentation, Kneale has become proficient enough to have a certain degree of control over the process. He is able to create further compositions by layering multiple striations on top of one another, often using transparent sheets.
Kneale refers to his works as ‘time-sandwiches’; he often places one short exposure scan over a long exposure one. For Kneale, this both complicates and multiplies the images of time within his works; each scan being a reflection of time as well as space. In this work, two scans appear set against each other: the continuity of the horizontal lines jarred by the fractured shapes above it.