DS-1122ndv

Tom R. Chambers is a documentary photographer and visual artist, and he is currently working with the pixel as Suprematist Art ("Pixelscapes") and Kazimir Malevich's "Black Square" ("Black Square Interpretations"). He has over 100 exhibitions to his credit. 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).

His "Digital Suprematism" series that is showcased on TurningArt works with shape, form, color, and line to produce abstractions that when greatly enlarged, provide an excitation factor via the elements of Geometry. These bold pieces … stemming from the pixel … rival Color-field, Minimalist, and Geometric art works created by painters over many decades. Their design aspects complement industrial and aesthetic surroundings.

An art critic states:

"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. Was Malevich thinking in "pixels" without knowledge of the term and even many decades before the fact of the technology, which utilizes this basic component? His association with Futurism might account for this sort of metaphysical connection. And, so it is that we have the aspect of this exhibition that straddles a whole century of art. From the earliest beginnings of Modern art to the latest developments in the tools by which the newest works are being made. The ground that is covered is immense, but the time between the two virtually disappears in this exhibit. It seems that with 'My Dear Malevich' it is not a matter of what is old (or new) being new (or old) again; but that what is 'old' and 'new' exists simultaneously. That which is 'gone' is also, at the very same time, ever-present."