Paul Kneale explores the connections between painting and digital photography: to him a scanner equates to a paintbrush, or to other systems of representation such as grids used to study perspective. The scanner-paintings from his ‘Post-post-post-production’ series take this reflection as a point of departure.
At the start of the process, the artist leaves the scanner lid open with nothing on its bed: the LED strip moves across the glass with variable speed, depending on the resolution of the scan. A high definition scan will be much slower than a low resolution one. The stratification of different moments in time and different resolutions, creates what Kneale defines as a ‘time sandwich’.
It this layering that gives depth and unique character to each painting. Kneale’s technique allows the scanners to capture the surrounding environment. The scanner’s lid is open to let the light (daylight, artificial light, dimmed light) and materials on the scanner’s glass plate leave their impressions.
The cheap scanners Paul Kneale uses to create the paintings all have their own personality: the glitches that are generated in the process become an important part of the work. To the artist, “productive misuse is a way to understand things”.
The dramatic colours, texture and sheen of ‘Selfiecide’ are very evocative. Part of the beauty of Paul Kneale’s paintings is that although they are non-figurative, like a Rorschach test, it is possible to see many different objects and shapes in them.