Paul Kneale

Non-Event Horizon, 2016

aluminum trash can, transformer, Uncoated argon light, wheels, wood

60 × 50 × 50 cm


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Artwork
Description

Paul Kneale’s employment of everyday objects to discuss cosmic truths or metaphysical questions is evident in his piece ‘Non-Event Horizon.’ A continuation of a series, ‘Event Horizon’ that he started in 2015, this work extends the visual metaphor of the trashcan to comment upon the transition of commercial goods from consumer possession to landfill.

Operating as a type of Möbius strip, the work creates the impossible image of a glowing halo suspended above the rubbish bin. Filled with various noble gasses, like Argon and Helium, the unpainted glass tubes vibrate with the neon blue power of 90000 volts of electricity. Perfectly matching the curvature of the rim, the phosphorescent glow of the tubes draws attention to the liminal role of the garbage can in consumer society. Indeed, within it objects remain betwixt and between purchase and landfill; though removed from reality, they await final erasure.

Like the Charon of consumer society, the trashcan works as a visual metaphor for not only the tactile objects in society, but also the intangible. Items on a computer, for example, where documents, photographs and files are moved from the hard drive into the rubbish bin icon and await permanent elimination. The limbo space, between reality and indeterminate nothingness, that objects occupy whilst in the garbage can is indicated in the work’s title: a unification of the technical name for the edge of a black hole and the colloquial term referring to a highly anticipated occurrence that doesn’t meet expectations. “A bad party and the mysteries of the universe come together”.

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. Work by Kneale have been included in the exhibition Peindre la Nuit at Centre Pompidou Metz (October 2018), Contemporary Photography Forum exhibition of the Boca Raton Museum (Florida, USA), 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. To follow Paul Kneale and receive exclusive updates, click here.


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

August 24th, 2016 until
September 15th, 2016
Curated by ARTUNER