DSGA Color Field Extraction
Tom R. Chambers extracts color fields from his art pieces that comprise the "Digital Suprematism - Geometric Abstraction" project to create "stand-alone", square composites. Chambers utilizes the "standard" square as a placeholder for the extraction of the particular color field and then stacks the squares in grid format with the fifth square superimposed top-center. This configuration with its various colorations creates a "hybrid" from the original that not only is structurally different ... in the extreme ... but is also "pure" color field. In other words ... setting aside the square placeholder ... the "hybrid" is void of the original's concept and geometrical layout. The color fields are existential. The color field movement evolved out of experiments in nonrepresentational painting during the mid-20th century. It is not about the exterior world but rather the interior world of the art piece, the artist, and the viewer.
His 'DSGA Color Field Extraction' project offers a fascinating and rigorous deconstruction of his own 'Digital Suprematism - Geometric Abstraction' artwork. By isolating and recontextualizing color fields from these pieces, Chambers creates compelling 'stand-alone' square composites that challenge our understanding of Suprematist principles and the power of pure color. The methodology is deceptively simple: extract color swatches, represented by uniform squares, and arrange them in a grid pattern with a dominant, superimposed square at the center. This arrangement, however, belies a complex transformation.
Chambers effectively strips away the original geometrical framework and conceptual underpinnings, distilling the artwork to its most elemental components … pure, unadulterated color. The brilliance of this approach lies in its ability to create a 'hybrid' entity. It's not simply a reproduction of colors present in the original artwork, but a new composition born from the act of extraction. By setting aside the square placeholder, as the review suggests, we are left with an experience that transcends the original context. The color fields become 'existential,' existing solely for their own sake and inviting the viewer to engage with them on a purely sensory
and emotional level.
This project clearly aligns with the core tenets of the color field movement, which sought to move beyond representation and explore the internal landscape of the artwork, the artist, and the viewer. Chambers' extraction process forces us to confront the inherent emotional and psychological impact of color itself, divorced from narrative or representational baggage. The resulting compositions are not about depicting the world but about eliciting a response within the viewer.
In conclusion, Chambers' 'DSGA Color Field Extraction' is a thought-provoking exploration of color, form, and the essence of artistic creation. By meticulously dissecting his own work and reconstructing it through the lens of color field abstraction, he invites us to reconsider the relationship between form and content, and to appreciate the profound power of color in its purest, most unadulterated form. This project is a valuable
contribution to the ongoing dialogue surrounding abstract art and its potential to evoke deep and meaningful experiences.