This series of attached images is under the namesake of "Digital Suprematism".
During the latter part of 2000, Chambers began to look at the pixel within the context of Suprematist/Minimalist
art. He equated the pixel with the works of non-objective artists like Vasily Kandinsky, Barnett Newman, Mark
Rothko, Ad Reinhardt, Kazimir Malevich, Piet Mondrian and others. They generated works to establish an
abstract visual language of the sublime, pure color, geometric form, deep contemplation and metaphysical
pursuit of the truth.
The pixels or "Pixelscapes" - as he calls them - conform with many of these non-objective artists' works. They
are a revelation for him when compared to these non-objective works generated many years before the pixel
and Digital Revolution. It seems that he has managed to do what Kazimir Malevich and other Suprematists
(Minimalists) have done through the simple process of magnification and isolation of the pixel(s).
JD Jarvis, Art Critic/Artist and coauthor of Going Digital: The Practice and Vision of Digital Artists (ISBN
"Mr. Chambers has been experimenting for several years with his series of "Pixelscapes" exhibitions. Utilizing
the most basic unit of any computer graphic; the single pixel, his "Pixelscapes" serve as colorful pathways into
the purely metaphysical aspects of art which, by virtue of presenting so little, leads the viewer to so much in
terms of their own emotional content. 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."
This project comprises 90 pieces that play on Suprematist variations of Kazimir Malevich's early works prior to
"Black Square" after glitch treatment and magnification of the digital reproductions.
These pixel configurations ("Pixelscapes") rival works in Suprematism, Abstraction, Minimalism, Geometric, and
Color Field art movements. They are brought to the forefront via these early works to celebrate Malevich's latent
and ultimate creativity which gave way to
Suprematism with the display of "Black Square" and other works in
1915 as part of the Last Futurist Exhibition of Paintings 0,10.
A "glitch" is a disruption in a system. Also, Glitch Art - the aestheticization of digital or analog errors - is a current,
viable art form that includes workshops, lectures, performances, installations and screenings worldwide. (Wp)
TOM R. CHAMBERS
Documentarian, Visual Artist, Curator, Educator
Returned Peace Corps Volunteer in the Arts Zimbabwe, 1993-95
Research Analyst, Lunar Receiving Laboratory, Apollo Program, 1969-1972
3500 Greystone Drive #101
Austin, TX 78731
Tom Chambers' AutoGallery 2022 exhibit
Tom Chambers' website