Kenneth Pils, född i Huskvarna, 1964, lever och arbetar i Stockholm. Han har gått på Konstfack och Kungliga konsthögskolan i Stockholm, ställer ut regelbundet i Sverige och Europa och har gjort ett flertal offentliga konstnärliga gestaltningar. Han är en av grundarna av det internationella konstforskningsprojektet “Being in the World” (www.beingintheworld.net).

Kenneth Pils arbeten rör sig kring de kulturella förutsättningarna för bildskapande. Han är intresserar av hur främmande bildmaterial visar sig för oss när deras ursprungliga sammanhang förskjuts. Han använder sig av en metod där bildmaterial typisk för vår tid (präglat av utbytbarhet och snabbhet) bearbetas genom kroppsliga och materiella processer präglade av tyst kunskap som sätt att producera muterade, oförutsägbara berättelser. Det är ett arbete baserat på digital bildredigering men som manifesterar sig i måleri, teckning, installationer och grafik. Han har ofta använt slumpmässigt funnet material från internet eller filmer kombinerat det med ett akvarelliknade skiktmåleri som en organisk bearbetningsapparat för att utforska avslöja och utmana sin egen (och andras) vanemässiga sätt att tolka och ordna det vi ser.

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Kenneth Pils

Kenneth Pils is a contemporary painter and sculptor.  
He has MFA from National College of Art in Stockholm and the Royal Art Academy in Stockholm. He now lives and works in Stockholm and has made numerous exhibitions in Sweden and Europe and several public art works in Sweden

Kenneth Pils is one of the co-founders of the interdisciplinary and international art-as-research project "Being in the world" (http://beingintheworld.net). He has been deeply involved in the artist-run art scene in Stockholm by running Studio 44 (producers gallery) and in the Team of Supermarket Independent Art Fair (http://supermarketartfair.com).

Kenneth Pils images are based on randomly selected images taken from the internet, art history and movies. He processes the material digitally into collage and uses the result as a visual start in his painting practice. The method makes it possible to go beyond biographical references and get in touch with new, unknown image worlds. The physical materials, the presence in the work and attention to what is happening in the moment transform the seemingly arbitrary material into fascinating and independent works. As a consequence, questions are raised about the role of the image in a world of image abundance, transformations and mutations, artistic intent and the viewers interpretation.

He also devotes part of his artistry to digital image editing and writing computer scripts. He makes his diverse skills usable in his art which on the surface looks traditional but in fact is realized in an unconventional way.

Artistic statement
We are surrounded by billions of images and new images are constantly created. One of my driving forces is to save some of these from oblivion by examining them trough painting. This is a transformation processes in which you can experience a metamorphosis going from the detached to something that affects you. In rare moments, the common thing can be looked upon in a new light and you can sense a wonderful feeling of taking part of something alive and present.

How can one approach this in visual arts and make it tangible? I often use non-biographical (mostly figurative) images as a material in a creative game play. Images without direct relation to my own life lends itself easier for a wide range of interpretation. The first impression of such an image is general and superficial, but by spending time and carefulness the relationship with the image develop.

I see the artwork itself as an foreign entity that talks back and I try to understand. Maybe I can get rid of the thick wall of quick attributions by a slow open uncovering of unknowns. As I look at a painting, I see it as something very close to me, at the same time as something terribly far away. It is something that is outside the scope of my logic and my mind.

The relationship grows non-linear from a dialogue with the work of art through uncontrolled incidents, sudden impulses. Things start and lead on to (something like) a clue. Often it is hard to remember how I have painted something. But what is there undoubtedly has the right colors and shapes.

I often use random methods to make decisions on what, where and how elements in the painting could be realized. For example finding images and image combinations to work with through image searches on the Internet with random alphanumeric strings. Self-made data scripts are used to select image cropping and much more. Everything is compiled in a digital image montage done in Photoshop, which is later beamed with a projector onto a canvas and then painted as transparent color layers.

These are just techniques for luring me to take paths other than the usual, a game that makes me react and continue to paint. It is a state of mind where images are re-evaluated and rediscovered and where their meaning disappears and appears. Being in this fresh openness attracts me.