OK Hole, 2017
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Paul Kneale’s scanner paintings question the emergence of the digital as a system of vision. His subversive technique involves the use of multiple scanner machines instead of the traditional paintbrush set in order to create non-figurative paintings. Although Kneale begins the creation of his works always with the same action – scanning the space and light above the empty copy bed keeping the lid open – the final results are endlessly varied. The artist often refers to the scanners as having each a different personality, capable of yielding different results. Through experimentation and experience of such unusual visual lexicon, Kneale has indeed become nimble enough to harness the appliance’s potential and orchestrate it to create captivating symphonies of textures and colours.
‘OK Hole’ displays some of the most iconic traits of Paul Kneale’s scanner paintings. The severe horizontal lines gradually fade and interlace with the sensuous dunes of creased acetate sheets. The different strata of the work beacon at the viewer from a background of haziness and darkness; akin to the process of remembering, these layers bear the traces of the passage of time. Indeed, the so-called ‘time-sandwiches’ are created when the artist superimposes quick, low-resolution scans to slow, high-definition ones: it is archaeology in reverse.