Three 'Black Square' DSGA Line - After Kazimir Malevich's Suprematist Compositions
Tom R. Chambers offers a compelling, albeit stark, conversation with the legacy of Kazimir Malevich and his Suprematist compositions. By utilizing the iconic 'Black Square' as the primary geometric form and integrating his own 'Digital Suprematism - Geometric Abstraction (DSGA)' lines, Chambers constructs pieces that both acknowledge and reinterpret the foundational principles of Suprematism. The repetition of the 'Black Square' in varying sizes, all tilted at a uniform 35-degree angle, immediately establishes a rhythmic visual pattern. This repetitive use, however, also serves to emphasize the square's symbolic weight. It's no longer just a shape, but a direct reference to Malevich's artistic manifesto, a symbol of pure feeling and the rejection of representational art.
The introduction of the DSGA line, a vibrant and chromatic intervention between the somber squares, provides a striking contrast. The boldness of the colors inherent in the DSGA elements explodes against the stark black voids, injecting a dynamic energy into the composition. This contrast highlights a key difference between Chambers' approach and Malevich's original vision.
Where Malevich sought to transcend the material world through pure form and color limitation, Chambers seems to be exploring a dialogue between the abstract and the digitally constructed, the somber and the vibrant. The inclined angle, consistently applied to both the squares and the line, further
reinforces the sense of movement and energy within the pieces. It disrupts the expected static nature of geometric abstraction and creates a visual tension that draws the eye across the compositions.
While the configuration undeniably simulates Malevich's Suprematist compositions, the pieces also distinguish themselves through their self-aware engagement with their predecessor. Chambers isn't simply replicating Suprematism; he's using it as a framework to explore contemporary themes of digital abstraction and the interplay between geometric forms. The pieces demonstrate a clear understanding of
Malevich's Suprematism and effectively use 'Black Square' as a symbol of artistic revolution.
The juxtaposition of 'Black Square' and the colorful DSGA lines creates a visually stimulating and conceptually rich dialogue. The consistent use of the 35-degree angle ties the different elements together, creating a
cohesive composition. In conclusion, the project is a thought-provoking work that successfully engages with the legacy of Suprematism while carving out its own unique visual language. It's a compelling exploration of geometric abstraction, color contrast, and the ongoing dialogue between past and present artistic movements.