Paul Kneale

Why Not Nowish, 2017

Inkjet on Canvas

200 x 140 cm


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Artwork
Description

Paul Kneale’s scanner paintings and the smaller scale scanner transfers are full of kaleidoscopic intensity and energy. His interest in the transformation of the physical world into a digital language is exemplified through this current work. This piece explores the ways in which the digital facets of our existence can be manifested and reimagined in the form of the physical object.

The painting is in itself a simulacrum of this age, as it is created through the implementation (and misuse) of a cheap scanner-printer, in turn creating an ersatz experience, which can be read as a satirical capitalist production line. Kneale reflects on mass-consumption, production and consumerism in the twenty-first century, emphasised through the use of consumer grade scanners, which oftentimes end up being destroyed through the creation of his art.

The idea of streamlining modernism was already being implemented in the early 1900s with assembly line factories and the mechanical digestive image, where skill and knowledge is replaced with mass production, consumption and industrialisation. By using these scanners Kneale sheds light on to a world wherein “everything is branded, where the consumer is lured into compulsively buying new and improved versions of the same products”.

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

January 26th, 2018 until
April 8th, 2018
Curated by Boca Raton Museum of Art