In the 1980s, the Computer became a domestic appliance and started being sold to the general public, becoming, eventually, the Personal Computer (PC). Paul Kneale, born in 1986, saw its evolution first hand, and, consequently, saw the world being progressively digitalised in the enigmatic dimension of the Internet.
Kneale translated his efforts in understanding the changes of visual representation and the trivialisation of reality in the Internet Era into his main artistic practice, questioning the place of fine arts in a new, digitalised society.
Kneale uses cheap, consumer-oriented, open scanners to capture the ‘atmosphere’ in his studio, digitalising it as it’s being scanned – and, then, obtaining its tangibility by printing it.
In order to obtain a faithful, yet abstract, depiction of his surroundings, Kneale captures the air above the scanner in his studio multiple times, being mindful of the light and atmospheric conditions in the room. Eventually, he layers his scans, allowing multiple moments in time to coexist on the same surface.
His inability to predict the final result, also, contrasts the predictability of digital renderings, generating a disorientating awareness of the digital; the PC, eventually, meets the crafts on a sheet of paper, which becomes a core element in Kneale’s scan transfers for its endless, possible uses. The A4 sheet of paper, thus, transcends its commonplace use by becoming a vessel of Kneale’s meditation on reality; Kneale prints his drawings in a A4 scale, deliberately connecting them to the scanner and the means of mass production – hence giving a physical manifestation to what was just a sterile computer file.