Paul Kneale

Scan Transfers Series, 2017

Scan transfer on photo paper

29.7 x 21 cm


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Artwork
Description

This group of smaller works from Paul Kneale’s scanner transfers series questions the digital not only as an extension for the visual but as its replacement. Kneale frequently refers to these scanner-created artworks as “time-sandwiches”; due to his placing of one short exposure frame over a longer one. Time and space work in a symbiotic relationship with one another to create these snapshots.

The use of multiple scanners in the stead of traditional methods of painting to create non-figurative works underlines Kneale’s search for and understanding of the mechanised, automated processes of the twenty-first century.

This series, made up of nine scan transfers titled (from left to right): Promoter, Office Park, Plot the Lost, Who to Follow, Rekt Thread Ekphrasis, Everybody’s Alternative, Invited You to Like, Real Followers, History States.

Through the use of cheap consumer scanners Kneale creates these works by manipulating the ambient light within his studio to capture the ephemeral. In the essay “Image Ageless”, Kneale argues that the digital painting process using scanners is a new approach to the “age old concerns of surface and space and time in painting”. The scanners are in themselves reminiscent of painting because of the way the digital sensors work, capturing light and time as a code and processing it into an image.

Paul Kneale’s new transfer scans series are created following a process similar to that of his emblematic scanner paintings. In the transfer scans, the artist prints the resulting image on the non-absorbent side of an acetate sheet. Before the ink is allowed to set, he transfers the composition on paper with the aid of a solvent, occasionally adding more printed layers. This laborious technique recalls that of Robert Rauschenberg’s transfer drawings, where the artist would reclaim scraps of printed media to deftly comment on the excesses of contemporary visual culture.

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

January 26th, 2018 until
April 8th, 2018
Curated by Boca Raton Museum of Art