Destructed/Reduced DSGA
Tom R. Chambers rotates ... 360 degrees at 90-degree intervals ... the art pieces from his "Digital Suprematism - Geometric Abstraction" project through a series of four triangles to create different perspectives within a constant placeholder, and then "destructs"/"reduces" via a prominent color that comprises the pieces as a backdrop. Color is the mediating force as the disruptor ("destructor/reductor") of the image. His 'Destructed/Reduced DSGA' project offers a compelling exploration of perspective, form, and the disruptive power of color.
Rooted in his 'Digital Suprematism - Geometric Abstraction,' Chambers
meticulously manipulates his existing artwork through a calculated process of rotation and chromatic reduction. The result is a series that provokes thoughtful consideration of how perception is shaped and how color can fundamentally alter our understanding of an image. The central mechanic – rotating art pieces from his DSGA project 360 degrees in 90-degree intervals within the confines of four triangles – is a powerful technique. By anchoring the manipulation within a constant placeholder, Chambers foregrounds the nuances of perspective.
The viewer becomes acutely aware of how each rotation shifts the relationships between the geometric forms, revealing new facets and hidden tensions within the original composition. This process alone is an
engaging exercise in visual deconstruction. However, the true innovation lies in the 'destruction/reduction' phase. Chambers' utilization of a dominant color of the art pieces as a backdrop, essentially
washing out and diminishing the original complexities, is a bold and effective strategy. By employing color as a 'mediating force' and 'disruptor,' he challenges the viewer to reconsider the underlying structure of the artwork. The prominent color, whether subtle or jarring, acts as a filter, stripping away layers of detail and forcing attention onto the remaining forms and negative space. This act of reduction can be interpreted as a commentary on the inherent subjectivity of perception, highlighting how a single element – in this case, color – can significantly impact our interpretation of an image.
The project's strength lies in its intellectual rigor and its deliberate exploration of visual principles. Chambers isn't simply creating aesthetically pleasing visuals; he's engaged in a purposeful investigation of how we see and understand art. The title itself, 'Destructed/Reduced DSGA,' accurately reflects the core process and its resulting effect. The combination of rotation and color-based deconstruction is a unique and effective technique. The 360-degree rotation within the triangle framework highlights the subjective nature of perception. The use of a dominant color as a backdrop is a powerful tool for reducing and altering the image. The project demonstrates a deep understanding of artistic principles and a commitment to exploring visual concepts.
In conclusion, 'Destructed/Reduced DSGA' is a thought-provoking and visually compelling project that demonstrates a sophisticated understanding of artistic principles. While its conceptual complexity may present a barrier to entry for some, the project's exploration of perspective, form, and the disruptive power of color makes it a worthwhile and intellectually stimulating experience.