Paul Kneale

Quantum Tinder, 2016

anatomical model, LED clock, plastic storage containers, powder coated aluminum

120 × 50 × 80 cm


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Artwork
Description

Paul Kneale’s ‘Quantum Tinder’ is reminiscent of those warnings on mortality that abound in the tradition of art history: the memento mori skull in Holbein’s ‘Ambassadors’ and Reynolds’ tomb inscription ‘Et in Arcadia ego’. Certainly, the setting that inspired the creation of these works is a long way from the idyllic Arcadia: the empty suburbs of Las Vegas, inhabited solely by rows of semi-identical hollow houses. Indeed, Kneale’s ‘vanitas’ has taken an unsettling twist: instead of lyrical hour glasses, the fleeting of time is spelled out by brightly coloured LED clocks, strapped to the see-through plastic skeletons like life-support machines or explosive devices. The plastic buckets hosting the skeletons are almost nursing: they evoke the crib of one’s first days on Earth, rather than the clinical evidence-box of a morgue – more fit than a cradle to contain a skeleton. At the same time, the title refers to a widely popular online dating app, perhaps alluding to the fact that the two skeletons, connected by wires, might be soulmates.

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

August 24th, 2016 until
September 15th, 2016
Curated by ARTUNER