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Digital Suprematism by Tom R. Chambers

Tom R. Chambers is a visual artist (digital/new media and mixed media), documentarian, curator and educator with over 100 personal exhibitions worldwide. He has also curated numerous exhibitions in the U.S.A., Zimbabwe, China and India.

My Dear Malevich/Red Sweep Black Square, Suprematism Infinity: Reflections, Interpretations, Explorations (Group Show), Atrium Gallery, Harriman Institute, Columbia University, New York City, New York, U.S.A., December 1, 2015 – January 22, 2016.Image – center, left to right: Tom R. Chambers and Mark Khidekel (artist/architect). Mark Khidekel is the son of Lazar Khidekel, the artist/architect who studied with Kazimir Malevich.

Art Gallery, Fine Arts Department, Zhaoqing University, Zhaoqing, China (April 2 – 15, 2007).

He is currently working with the pixel as Minimalist Art, Kazimir Malevich’s “Black Square” and Suprematism. His “My Dear Malevich” project has received international acclaim, and it was shown as a part of “Suprematism Infinity: Reflections, Interpretations, Explorations”, Atrium Gallery, Harriman Institute, Columbia University, New York City, New York (December 1, 2015 – January 22, 2016) and in conjunction with the “100 Years of Suprematism” conference, Shapiro Center, Columbia University, New York City (December 11 – 12, 2015) (Organized in celebration of the centenary of Kazimir Malevich’s invention of Suprematism and the first public display of his Suprematist paintings in December, 1915.).

Utilizing the most basic unit of any computer graphic, the single pixel – my “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, the physical world. I have shown a path by which this tool, which so often serves hyper-reality, is forced to reveal the abstract soul at its very core.Tom R. Chambers

Chambers was Visiting Lecturer in digital/new media art for the Fine Arts Department, Zhaoqing University, Zhaoqing, China (2005 – 2007). He joined the department to develop and teach a digital/new media art program. He also curated numerous student exhibitions. While in China, he developed his “Tom Series” project, which has been shown in eighteen exhibitions worldwide (2006-2015) (Chambers utilizes the self-portrait to project his life experiences. His portrait remains constant with the experience [situation] indicated as a change or flux in the image. The accompanying text details his experience with the inclusion of links to the Internet for additional information. The project is not only an artwork about Chambers’ life – biography (visual/textual) – but also a reference tool, a study of history through his existence.).

Novosibirsk State Art Museum (as a part of the aniGma-4, Fourth Novosibirsk International Festival of Digital Imaging), Novosibirsk, Russia (May 10 – June 10, 2007).

He was invited by the National Institute of Design (NID) in Ahmedabad, India to conduct a three-week, new media art workshop for its new media design graduate students. The workshop culminated in the exhibition, “NMA@NID” (2006) (The no-constraints workshop encouraged self-expression through computer technology within a fine arts context.

“Black Square Interpretations” (“Black Square Embellished”)

According to Chambers, art created via new media should follow traditional conventions in the sense of appreciation for existing foundations and their various art movements. An overview of the exhibition sees an emotional component and search for truth that permeate the fine arts.).

Tom R. Chambers – official website
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