DIGITAL SUPREMATISM

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 ...

This project comprises 30 pieces (18"x18" each for exhibition) that play on Suprematist variations of Kazimir Malevich's "Spring Garden in Blossom" (1904) after glitch treatment and magnification of the digital reproduction of the painting. These pixel configurations ("Pixelscapes") rival works in Suprematism, Abstraction, Minimalism, Geometric, and Color Field art movements. They are brought to the forefront via this early work 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. A "glitch" is a disruption in a system. Also, Glitch Art - the aestheticization of digital or analog errors - is a current, viable art form that includes workshops, lectures, performances, installations and screenings worldwide. (Wp) "Spring Garden in Blossom" (1904):

Suprematism posters incorporating Kazimir Malevich's "Black Square", "Red Square", "Black Circle", "White Square", and "Black Cross".

THE PRIMORDIAL PIXEL These"Pixelscapes" are similar to Color Field painting that emerged in New York City during the 1940s and 1950s. This movement places less emphasis on gesture, brushstrokes and action in favor of an overall consistency of form and process. In Color Field painting, color is freed from objective context, and it becomes the subject in itself (Themes in American Art: Abstraction, National Gallery of Art, Web, May 9, 2010). Color Field painting emerged out of the attempts of several artists to devise a modern, mythic art. Seeking to connect with the primordial emotions locked in ancient myths, rather than the symbols themselves, they sought a new style that would do away with any suggestion of illustration (theartstory.org/movement-color-field-painting). Jackson Pollock, Adolph Gottlieb, Hans Hofmann, Barnett Newman, Clyfford Still, Mark Rothko, Robert Motherwell, Ad Reinhardt and Arshile Gorky (in his last works) are among the prominent abs...

Suprematist Representations of Kazimir Malevich's Work PRIOR TO "BLACK SQUARE" Digital reproductions of Kazimir Malevich 's work are magnified to reveal pixel configurations that rival works in Suprematism, Abstraction, Minimalism, Geometric, and Color Field art movements. They are brought to the forefront via these early works 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 . The perusal of these "Pixelscapes" shows an occasional "Black Square", "Red Square", "White Square", and "Black Cross" that Malevich created as iconic representations of his art movement. The overall geometry and color fields are in keeping with Suprematism. As it relates to the timeframe of the above works: 1900 - 1914: According to kazimir-malevich.org : P...