Used Aura, 2017
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Though they guise as abstract works, Paul Kneale’s paintings are a scanner’s own rendering of light and space. Kneale’s method involves using cheap, readily available scanners in order to make ‘empty’ copies: nothing is placed above the transparent copy panel. The ensuing outcomes are the mediations of the appliances he uses: they are what the scanner ‘sees’. For Kneale, each scanner he uses contains its own idiosyncrasies: effects will always be different.
As a means of interpretation, Kneale highlights how the scanner has the ability to register light at wavelengths the human eye cannot, such as the flicker of neon fixtures overhead. Kneale generates composite effects through overlaying quick low- resolution scans with slow high-resolution ones; by re-scanning, Kneale harnesses the aesthetic produced by the scanner’s inability to recognise certain colours and shapes.
In this work, the interweaving and marbling forms are the result of acetone which has been scanned; the effect drawing parallels between digital configurations and that of naturally occurring material.