Paul Kneale’s interest in the divide between digital and physical reality, and the coexistence of advanced technology and cheap material within the same object, is clearly manifested in paintings from the ‘Post-post-post-production’ series. These works, referred to as ‘scanner-paintings’, bridge the gap between several realms.
They are inherently amphibious. The ‘high-tech garbage’, as Paul Kneale calls the consumer grade scanner-printers, which he uses like brushes to ‘paint’ the works, consist of very advanced sensors encased in a flimsy made-in-China body. Indeed, while the former are able to capture elements which are usually beyond traditional methods of figuration – such as the atmosphere and light conditions – the latter is designed to deteriorate rapidly.
Such discrepancy becomes a breeding ground for productive visual enquiry. The errors, damages and tantrums of the scanners are integrated into the works, conferring them different personalities.
Although the scanner paintings are not figurative, in the sense that they don’t depict objects, they are not abstract either. In fact, they record very physical elements, which often escape our visual field – as the scanner actually registers more pixels per inch than our eyes can perceive.
Bright palette examples such as ‘Salad Days’, also reminiscent of Colour Field painting, are the result of several long exposure layerings.