Paul Kneale

Peak Everything, 2017

Scan transfer on photo paper

29.7 x 21 cm


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Artwork
Description

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Paul Kneale’s current work engages with the digital as a system of vision. His transfer scans are born out of his well-known scanner paintings series. Kneale’s method exposes the mechanisms behind technological equipment that is capable of interpretation. Thus, in his scanner paintings, Kneale is interested in what the scanner ‘sees’. The artist scans the atmospheric conditions of his studio, with nothing placed on the copy bed. Following this, he runs worn pieces of transparent paper through the printer and begins to layer up strata on strata of colours and shapes in order to form his compositions.

For his transfer scans, Kneale deliberately prints the scan on the non-porous side of an acetate sheet, which means the ink is not allowed to dry properly. Using an acetone solution, the artist then transfers the compositions onto paper, occasionally adding printed layers as he goes. This technique is similar to the one used by Robert Rauschenberg for his transfer drawings, where the artist would reissue pieces of print media in order to remark on the saturation of contemporary visual culture. For Kneale though, his transfers remain tightly connected with their means of production, namely the use of the scanner. Printed on A4, the artist encourages an association between the scanner’s own rendered image and other forms of print media.

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

February 28th, 2017 until
April 15th, 2017
Curated by ARTUNER