DSGA Video with Narration

 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 ​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”. They are magnified, ​filtered and precisely isolated to provide geometric abstractions within color-field settings. These "Pixelscapes" are brought to the forefront to celebrate Malevich's latent and ultimate ​creativity which gave way to Suprematism with the display of "Black Square" and other works in 1915 ​as part of the Last Futurist Exhibition of Paintings 0,10. These pixel configurations are brought out large-scale. This method not only conjures up ​Suprematism, Geometric Abstraction, Minimalism and Color-field for consideration, but also calls ​forth emotions, feelings, and responses in the viewer. They have a geometrical advantage due to their inherent, quadrilateral formatting. In combination, ​they provide grids, planes and juxtapositions of color. And the color scheme is in situ (natural), ​because of the source image. JD Jarvis, Art Critic/Artist and coauthor of Going Digital: The Practice and Vision of Digital Artists (ISBN 1-59200-918-​2) (USA): "Tom R. Chambers has been experimenting for several years with his series of 'Pixelscapes' exhibitions. Utilizing the ​most basic unit of any computer graphic, the single pixel, his 'Pixelscapes' serve as colorful pathways into the purely ​metaphysical aspects of art which, by virtue of presenting so little, leads the viewer to so much in terms of their own ​emotional content. This visual poetry contains the ironic connection between Modernist philosophy which moved ​visual art from figurative representational pictures of the physical world into an expressive and emotional world of ​abstraction; and the digital realm in which the purely abstract unit of one pixel off - one pixel on, has been utilized to ​reproduce once again, with breath taking accuracy the physical world. Now, Chambers has shown a path by which ​this tool, which so often serves hyper-reality, is forced to reveal the abstract soul at its very core." One Month Gallery (OMG) curators, Moscow (Russia): “Tom R. Chambers is a Texan with a Russian, Suprematist soul. He has repeatedly introduced the modern ​trend of new media art to the masses. He has brought Minimalism to the pixel. In 2000, Chambers began to ​look at the pixel in the context of Abstraction and Minimalism. And he is currently working with interpretations ​of Kazimir Malevich’s 'Black Square' and other Suprematist forms. His work calls our attention to visual ​singularity, which is all that we see in the digital universe. Since the pixel corresponds to what we call ​'subatomic particles' in our physical universe, Chambers’ work connects us directly with the feeling of Russian ​Suprematism, described as the spirit that pervades everything, and pays tribute to the faith in the ability of ​abstraction to convey net feeling in the work.”