My Dear Malevich

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 My Dear Malevich gallery wall simulation

























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MY DEAR MALEVICH (MDM)

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MY DEAR MALEVICH (MDM) This homage to Kazimir Malevich is an affirmation of Tom R. Chambers' "Pixelscapes" as Geometric Abstractionist Art and in keeping with Malevich's Suprematism - the feeling of non-objectivity - the creation of a sense of bliss and wonder via abstraction. Chambers' action of looking within a portrait (photo) of Kazimir Malevich to find the basic component(s), pixel(s) is the same action as Malevich looking within himself - inside the objective world - for a pure feeling in creative art to find his "Black Square", "Black Cross" and other Suprematist works. And there's a mathematical parallel between Malevich's primitive square ("Black Square") ... divided into four, then divided into nine ("Black Cross") ... and Chambers' "Pixelscapes" . The pixel is the most basic component of any computer graphic, and it can be represented by 1 bit (a 1 if the pixel is black, or a
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The Pixel as a Facsimile of Josef Albers' Square

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These pixel configurations are from Tom R. Chambers' "Digital Suprematism - Geometric Abstraction" project, and they are in keeping ... a facsimile ... with Josef Albers' "Square". Albers' teaching methodology, prioritizing practical experience and vision in design, had a profound impact on the development of postwar Western visual art, while his book  Interaction of Color , published in 1963, is considered a seminal work on  color theory .   In addition to being a teacher, Albers was an active  abstract painter  and theorist, best known for his series  Homage to the Square , in which he explored chromatic interactions with nested squares, meticulously recording the colors used.  In this rigorous series, begun in 1949, Albers explored  chromatic interactions  with nested squares. Usually painting on  Masonite , he used a  palette knife  with oil colors and often recorded the colors he used on the back of his works. Each painting consists of either three
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DSGA - Oblique ("Flyovers")

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O blique views ... "flyovers" ... of some of the art pieces from Tom R. Chambers' "Digital Suprematism - Geometric Abstraction" series (DSGA) ( https://digsup.my.canva.site/ ). The following courtesy of: "Aero‐Art, The Planetary View: Kazimir Malevich and Lazar Khidekel", Charlotte Douglas; reprinted from "Lazar Khidekel and Suprematism", Regina Khidekel, editor (New York, Munich, London: Prestel, 2014) (pages 27 – 33): "Kazimir Malevich had been concerned about flight for six or seven years before moving to Vitebsk in 1919. The public's passion for airplanes and flying began around 1908. The spreading craze for flight early in the new century led people in Russia and the Western world to find themselves strangely unhooked from the Earth and ever more gazing down upon the abstract patterns of towns, field and rivers." The enlarged and oblique views of the DSGA art pieces provide slanting or inclined in direction or course or pos
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