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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DSGA Video with Narration

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 DSGA Video with Narration https://digsup.my.canva.site/dsga-web https://chambersarts.godaddysites.com/ Tom R. Chambers is a visual artist, and he is currently working with the pixel as ​Suprematist/Geometric Abstractionist Art ("Pixelscapes") and Kazimir Malevich's "Black Square" ​("Black Square Interpretations"). His "My Dear Malevich" project has received international acclaim, ​and it was shown as a part of the "Suprematism Infinity: Reflections, Interpretations, Explorations" ​exhibition in conjunction with the "100 Years of Suprematism" conference at the Atrium Gallery, ​Harriman Institute, Columbia University, New York City (2015). During the early 2000s, Chambers began to look at the pixel within the context of ​Suprematist/Geometric Abstractionist Art. He equated the pixel with the works of non-objective ​artists like Wassily Kandinsky, Kazimir Malevich, Josef Albers, Barnett Newman, Mark Rothko, Ad ​Reinhard...
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The Pixel as Suprematist/Minimalist Art

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During the early-mid 2000s, Chambers began to look at the pixel within the context of Suprematist / Minimalist art. He equated the pixel with the works of non-objective artists like Vasily Kandinsky , Barnett Newman , Mark Rothko , Ad Reinhardt , Kazimir Malevich , Piet Mondrian and others. They generated works to establish an abstract visual language of the sublime, pure color, geometric form, deep contemplation and metaphysical pursuit of the truth. The pixels or "Pixelscapes" - as he calls them - conform with many of these non-objective artists' works. They are a revelation for him when compared to these non-objective works generated many years before the pixel and Digital Revolution. It seems that he has managed to do what Kazimir Malevich and other Suprematists (Minimalists) have done through the simple process of magnification and isolation of the pixel(s). JD Jarvis, Art Critic/Artist and coauthor of Going Digital: The Practice and Vision of Digital ...
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