Paul Kneale

Paywall Gardens, 2019

Inkjet on Canvas

190 × 147 cm


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Artwork
Description

Layer by layer, Paul Kneale forms ‘time sandwiches’ in his innovative scanner paintings. The artist uses cheap digital scanners to capture the ambient light of his studio space, thereby transforming the intangible environment into a tangible work of art.

But these works are not entirely the scanner’s doing; Kneale’s artistic license comes in the form of modifications to the space and the device while layering individual scans to superimpose ever-shifting moments in time upon one another.

In ‘Paywall Gardens’ (2019), the luminous gradient colours subtly illustrate the scanner’s process as well as the artist’s, highlighting the progression of the device’s sensor as it captures and digitises light in a series of horizontal paces from one edge of the glass to the other.

Here, Kneale’s sandwiching technique takes on a dual meaning: the work is given depth not only by light and time but also by the stratification of colour from top to bottom, each bar of vibrant hue its own distinct shade and flavour. The precise intricacies of the painting work in tandem with its image at large, ultimately engulfing the viewer in its electrifying capture of an auratic world.

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

May 22nd, 2019 until
August 31st, 2019
Curated by ARTUNER