'Black Square' Negligible DSGA

Tom R. Chambers considers his "Digital Suprematism - Geometric Abstraction" Project ... and any art for that matter ... "negligible" when compared to Kazimir Malevich's "Black Square". He has reduced several art pieces from his project and placed them onto much larger black squares to make his point about negligibility as it relates to "Black Square". His 'Negligible DSGA' is less an exhibition of his 'Digital Suprematism - Geometric Abstraction' project and more a conceptual wrestling match with the iconic ‘Black Square’ of Kazimir Malevich.' By surgically excising elements of his own work and transplanting them onto the vast field of ‘Black Square’, Chambers forces a direct confrontation. He's essentially staging an artistic intervention, asking us (and perhaps himself) to

reconsider scale, significance, and the enduring power of the avant-garde.

The premise is intriguing, bordering on provocative. Chambers readily admits the perceived 'negligibility' of his own creations when juxtaposed with the monolithic presence of 'Black Square.' This self-deprecating approach invites a certain curiosity. Are we meant to agree with Chambers' assessment? Or are we meant to find a hidden strength in the supposed weakness of his smaller compositions?

The impact of placing these fragments of 'Digital Suprematism - Geometric Abstraction' against the black backdrop is undeniably striking. The stark contrast highlights the subtle nuances of Chambers' color choices and geometric forms, potentially revealing a hidden beauty often overlooked in the original, perhaps more complex presentations. The vastness of the black field simultaneously dwarfs and amplifies the embedded artwork, creating a compelling visual tension. The premise is intellectually stimulating and invites critical engagement. The contrast between the small compositions and the large black fields is visually powerful. The project encourages a reevaluation of Chambers' own work in a new context.

Overall, 'Negligible DSGA' is a thought-provoking experiment. It's a risky and potentially rewarding approach to grappling with the legacy of a monumental artwork. While the project's success hinges on its ability to transcend mere comparison, it offers a compelling visual dialogue and invites viewers to question their own perceptions of scale, significance, and

the ever-evolving landscape of art. Whether it ultimately justifies its own existence beyond ‘Black Square’ of Malevich is a question that each viewer must answer for themselves. It's a testament to the enduring power of Malevich's 'Black Square' that it can still inspire such a compelling, if self-aware, artistic response.