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 or four squares of solid planes of color nested within one another, in one of four different arrangements and in square formats ranging from 406×406 mm to 1.22×1.22 m. (Wp)

Chambers is sure that Mr. Albers would have appreciated the pixel and its relationship to the various color fields (settings) that are revealed in his (Chambers) project.






























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