DIGITAL SUPREMATISM

Since July of 2023, Tom R. Chambers has been receiving a monthly rental/installation commission on two of my art pieces (SDGA-161 and SDGA-243) through Turning Art. The ongoing transaction is with Hamilton Lane (investment management company), Conshohocken, PA, and the pieces are installed at 36"x48". According to Turning Art, "The investment company liked the use of saturated colors, lines and markers. The client also had a strong preference for bolder colors and geometric compositions. The client selected the work to be featured in their client area." Artists on this thread, you might checkout Turning Art to showcase your artworks and earn money, if they pass curatorial review: https://www.turningart.com/artist/tom-chambers DSGA 161 DSGA 243

  DSGA 294 DSGA 276  DSGA 232 DSGA 225 DSGA 196 DSGA 176 DSGA 174 DSGA 169 DSGA 145 DSGA 132 DSGA 86 DSGA 84 DSGA 75 Digital Suprematism - Geometric Abstraction During the early 2000s, Tom R. Chambers began to look at the pixel within the context of Suprematist and 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 Reinhardt, 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. This body of work is derived from pixel configurations, and they stem from digitized reproductions

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

During the early 2000s, Tom R. Chambers began to look at the pixel within the context of Suprematist and 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 Reinhardt, 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. This body of work is derived from pixel configurations, and they stem from digitized reproductions of Kazimir Malevich's early works prior to his Suprematism and “Black Square”. These "Pixelscapes" are brought to the forefront to celebrate Malevi