DIGITAL SUPREMATISM

BSI-8/BLACK SQUARE CROSS REVOLUTION This project is a video/installation piece that contrasts the Suprematist works of Kazimir Malevich with the Russian Revolution of 1917. In 1915, Kazimir Malevich laid down the foundations of Suprematism when he published his manifesto, From Cubism to Suprematism. In 1915/1916 he worked with other Suprematist artists in a peasant/artisan co-operative in Skoptsi and Verbovka village. Malevich exhibited his first "Black Square" at the "Last Futurist Exhibition 0,10" in Petrograd (Saint Petersburg) in 1915. A black square placed against the sun appeared for the first time in the 1913 scenery designs for the Futurist opera, "Victory over the Sun". After the October Revolution (1917), Malevich became a member of the Collegium on the Arts of Narkompros, the Commission for the Protection of Monuments and the Museums Commission (all from 1918/1919). He taught at the Vitebsk Practical Art School in the USSR ...

BSI-7/BLACK SQUARE MERGE: NATURE This project is a continuation of Chambers' experimentation with Kazimir Malevich's "Black Square" and Suprematism. He merges photographs of Nature with "Black Square" to create a zone of Suprematism via the pixel(s). The merge results in a loss of color (variations of gray including achromatic grayscale shades, which lie between white and black colors). The project is in keeping with Malevich's Suprematism - the feeling of non-objectivity - the creation of a sense of bliss and wonder via abstraction. "Black Square Merge: Nature" becomes one of homage a second time - first, "My Dear Malevich" - by utilizing photographs of Nature to explore at the pixel level - transformation into aesthetic fields of "Pixelscapes" via the merge of Malevich's "Black Square" - to rekindle his thoughts about creation. He states, "No phenomenon is mortal, and this means not only ...

BSI-6/BLACK SQUARE DESECRATION Kazimir Malevich's "Black Square" (1915) receives glitch treatment - perceived as "desecration" - and perhaps embraced by this Suprematist if he were alive today. Suprematism is based upon "the supremacy of pure artistic feeling" (sensation), and the kinetic glitch treatment enhances these emotions via pixel reconfigurations, the introduction of color fields and movement. The sound component complements the feeling. This video piece could be viewed as Neo-Suprematism. Exhibition: "Black Square Desecration" ("Black Square Interpretations"), Official Selection for Viewing, Experimental Animation and Video Art Program, LINOLEUM International Contemporary Animation and Media-Art Festival, Ukraine, September 28 - October 1, 2017.

BSI-5/BLACK SQUARE SPACE Chambers utilzes images of the Universe (courtesy of HubbleSite [ http://hubblesite.org ]) in combination with Kazimir Malevich's "Black Square" to confirm his (Malevich) interest in Astronomy and connection of his Suprematist work with the Universe. The "Space" images have been pixelated to show abstractions - configurations of pixels - running throughout the "Black Square" and beyond ("white abyss"). Malevich's "Black Square" becomes monolithic/monumental. Malevich called himself, "President of s(S)pace". According to "The Cosmos and the Canvas", Aleksandra Shatskikh, Malevich at Tate Modern, July 30, 2014 (Tate Etc., Issue 31, Summer 2014): Kazimir Malevich called his abstract compositions Suprematism, which in its first stage meant the dominance of color energy and its transformations in painting. For him, the life of color as such was linked to the Univers...

BSI-4/BLACK SQUARE EMBELLISHED This project reflects Kazimir Malevich's "Black Square" after glitch treatment. This treatment is the embellishment of "Black Square" in each case, and it could be argued that it is also the defacement of the same. Is this act of changing the appearance or surface of "Black Square" for better or worse, or does it matter? Would Malevich disapprove of these digital renditions since he once stated, "There's nothing more after Black Square." ? Things evolve, and opinions change, and Chambers considers "Black Square Embellished" an evolution of sorts ... a move from Malevich's Suprematism towards Neo-Suprematism. There are those out there who might even interpret these pieces as Anti-Suprematism. Malevich's "Black Square" changed the interpretation of art ... "Black Square Embellished" changes the interpretation of "Black Square". Exhibit...

BSI-3/RED SWEEP BLACK SQUARE This project is a video/installation piece re: Kazimir Malevich's "Black Square" and "Red Square", both exhibited in 1915. They approximate being one and the same, but Malevich considered his "Black Square" to be the true icon - its zero form - for Suprematism. In Malevich's system, the movement from black-and-white Suprematism to colored and finally to white Suprematism was indicated by three squares: a black, a red, and a white one. (Vitebsk, Aleksandra Shatskikh, 2007 [1917-1922]) The first time Malevich exhibited his "Red Square", in 1915, it was subtitled "Pictorial Realism of a Peasant in Two Dimensions". During the Vitebsk years, the representation of the "Red Square" was politicized. Lazar Lissitzky had a hand in this Bolshevization of the Suprematist figure. He turned the "Red Square" into the Unovis seal. However, Malevich and all the other Suprematist...

BSI-2/BEYOND BLACK SQUARE This project is a video that moves Kazimir Malevich's "Black Square" to the next level - Neosuprematism. It also simulates the evolution of the bar code system. Kazimir Malevich: "This was no 'empty square' which I had exhibited but rather the feeling of non-objectivity. I realized that the 'thing' and the 'concept' were substituted for feeling and understood the falsity of the world of will and idea. Suprematism is the rediscovery of pure art which, in the course of time, had become obscured by the accumulation of 'things'. But the nature and meaning of artistic creation continue to be misunderstood, as does the nature of creative work in general, because feeling, after all, is always and everywhere the one and only source of every creation. The emotions which are kindled in the human being are stronger than the human being himself - they must at all costs find an outlet, they must take o...