Tom R. Chambers

During the early 2000s, Tom R. Chambers began to look at the pixel within the context of Suprematist and Geometric Abstractionist art. He equated the pixel with the works of non-objective artists like Wassily Kandinsky, Kazimir Malevich, Josef Albers, Barnett Newman, Mark Rothko, Ad Reinhardt, 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.

This body of work is derived from pixel configurations, and they stem from digitized reproductions of Kazimir Malevich's early works prior to his Suprematism and “Black Square”. They are magnified, filtered and precisely isolated to provide geometric abstractions within color-field settings.