Paul Kneale, born in 1986 in Canada, challenges the boundary between art and digital, creating artworks that intertwine the two. With his scanner paintings, Kneale addresses the growing presence of technology in the world, questioning the place of artistic representation in this new, digitised, era.
Kneale faced the novelty of this new, artistic time by experimenting with ordinary scanners: his artworks are overlapped impressions of the atmosphere in his studio, captured with open scanners multiple times, at various degrees of definition – from fast, low resolution, to slow, high resolution. The layering of these impressions generates what Kneale describes as ‘time sandwiches’ – an exploration of light and time through the eyes of the digital.
In this new series of paintings, exhibited as part of Compression in Brussels, Belgium, Kneale experiments with different techniques. The intermittent red lines cutting across the rainbow of colours, are the only indication of the use of a scanner, even though it was used consistently in the entire process. By virtue of his growing proficiency in using these consumer objects as means of artistic creation, Paul Kneale was able to achieve a painterly effect without ever using a traditional brush. In fact, he refers to the different scanners he uses as his own, unique set of paintbrushes.