DSGA

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These DSGA artworks are more than just a visual experience; they are an interactive conversation between historic inspiration and contemporary execution. 

They offer a compelling dialogue between art historical reverence and modern digital manipulation, resulting in an engaging and thought-provoking experience. The pieces transcend simple visual appreciation, inviting viewers into an interactive conversation about artistic lineage and the evolution of form.

The core concept – extracting pixel configurations from digitized reproductions of Kazimir Malevich's pre-Suprematist works – is inherently intriguing. By magnifying and isolating these early elements, the artist unearths geometric abstractions hidden within the source material, effectively highlighting the seeds of Malevich's later revolutionary vision. Framing these 'Pixelscapes' as a celebration of Malevich's 'latent and ultimate creativity' provides a persuasive narrative, connecting the pieces to the pivotal moment when Suprematism emerged.

The large-scale presentation of these pixel configurations is particularly effective. Not only does it amplify the visual impact, but it also strategically evokes a range of key art historical movements. Suprematism, Geometric Abstraction, Minimalism, and Color-field are all subtly referenced, encouraging viewers to consider the works within this broader artistic context.

Moreover, the inherent quadrilateral formatting of the pixel structures lends itself to compelling geometric arrangements. The resulting grids, planes, and juxtapositions of color create a dynamic visual landscape that actively engages the viewer's perception. The 'in situ' color scheme, derived directly from the source images, adds a layer of authenticity and organic connection to the original artwork.

Ultimately, DSGA's artworks succeed in their ambition to stimulate a visceral response. They are not simply recreations or reproductions; they are reinterpretations, recontextualizations, and, perhaps most importantly, they encourage viewers to actively participate in the ongoing conversation about art, history, and the transformative power of digital media. They are a worthy tribute to Malevich's legacy and a relevant contribution to contemporary abstract art. 

"Tom R. 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."  JDJ

“Tom R. Chambers is a Texan with a Russian, Suprematist soul. He has repeatedly introduced the modern trend of new media art to the masses. He has brought Minimalism to the pixel. In 2000, Chambers began to look at the pixel in the context of Abstraction and Minimalism. And he is currently working with interpretations of Kazimir Malevich’s 'Black Square' and other Suprematist forms. His work calls our attention to visual singularity, which is all that we see in the digital universe. Since the pixel corresponds to what we call 'subatomic particles' in our physical universe, Chambers’ work connects us directly with the feeling of Russian Suprematism, described as the spirit that pervades everything, and pays tribute to the faith in the ability of abstraction to convey net feeling in the work.” OMG

"Tom R. Chambers' 'Pixelscapes' have been exhibited in Novosibirsk and also at the Solovetsky Monastery. He is working with the idea of a small unit or cell of an image, which shows a fantastical world through print. He will show 'My Dear Malevich' at the Fourth Novosibirsk International Festival of Digital Imaging at the Novosibirsk State Art Museum. It will be a pleasure for us to show this series that stems from the Suprematist traditions of the great Malevich.He was a remarkable artist of the 20th century who looked deeply into the philosophical content of images. Chambers uses this same philosophy in his long-term art projects such as 'Pixelscapes'. And what is especially pleasant is that he brings his understanding and knowledge to art students."  AM

"As an old believer in the singular importance of Tom R. Chambers' creative explorations with regard to driving a leading-edge stream of evolution of the digital-still-image-as-art into this new millennium, I am absolutely delighted to see him work with his 'Pixelscapes'. In this rising new era of burgeoning empowerment of individuals by technology across all streams of human endeavor, all over the world, when the more popular leading-edges of many creative streams are often about little more than fascination and infatuation with the shiny new baubles of new mediums in themselves, it is important to so manifest and be reminded that high art should certainly derive from, and serve, much deeper folds in the brains of any individual, community and generation."  SB

"I very much enjoy the critical, analytical and aesthetic nature of the artwork. Much of my own work is an exploration of the digitally minimal and the fundamental structures that comprise media technology - so I feel well-placed to understand and comment on Chambers' concerns in this area. I feel that many contemporary artists working in New Media utilize the pixel without understanding its core essence in terms of both technology that creates it and the connections it has to the art historical past. I find the premise of the work is a relevant extension of the Suprematism and Minimalism art movements of the 20th century, in which Chambers revisits critical explorations from the past and augments his investigations with present day technologies and context."  MTM

 "At the beginning of the 20th century Kazimir Malevich was at the forefront of a revolution in art. His work took chances and explored new directions in representation. Malevich was an experimenter, pushing art to the edges. Today, at the beginning of the 21st Century, Tom R. Chambers' work bridges 100 years of art history and creates connections between his own ground-breaking work as a digital artist and the ground-breaking work of Malevich. Chambers' 'Pixelscapes' explore issues of digital representation as well as refer back to the seminal dialog about representation that Malevich and his contemporaries initiated. Look beneath the elegant simplicity of the art of Malevich and Chambers and you will find the essential building blocks of art. Look closely at Chambers' images and you will find the building blocks of today's digital revolution."  HO

"In 2000 Tom R. Chambers began his ongoing exploration under the namesake of 'Pixelscapes' (a pixel [picture element]) being a single point in a graphic image, an abstract sample.). In his article 'The Pixel as Minimalist Art', reference is made to Malevich's 'Black Square' and 'Black Cross'. Chambers removes the pixel from the screen and places it on a gallery wall as large digital images, a transfer that becomes an all at once opportunity to see the totality of the work. To enter a space and see larger than life pixels displayed one after the other in all their complex diversity allows for a truly meditative experience. The pixels become a vast universe of the non-objective."  BH

"Tom R. Chambers is a blend of the West and the East ... frank and charming with a disposition of an Eastern writer ... and this combination seems consistent when viewing his 'Pixelscapes', which are full of humanity, morality and caring. His creative work has a very different connotation: bright and fashionable within a multi-colored grid or graph. The meaning is manifested within a Western world's characteristics of materialism, public display and desire with curious, affective tonal range and realm of imagination ... it's beckoning. Chambers seems to want to elucidate a subject ... make a significant attempt at clarifying a notion. His appreciation of Kazimir Malevich's Suprematist artwork is only a way or an excuse to present an artistic trend through iconography that borders on 'religion'. The 'Pixelscapes' that comprise the project represent a collective expression. It is direct and effective, which is the most obvious characteristic of contemporary art."   WN

"Tom R. Chambers has been an iconoclastic digital artist and passionate teacher of digital art for many years. He was visiting lecturer on digital and new media art and digital photography in the Fine Arts Department of Zhaoqing University in Zhaoqing, China. His own art is a celebration of digital abstraction and reductionism in a long series of works that he calls 'Pixelscapes'. His series called 'My Dear Malevich' is a tribute to the celebrated Ukranian-born artist Kazimir Malevich (1878-1935) who was founder of Suprematism, a non-representational art that featured geometric forms and shapes. These images are a confirmation of Chambers' dedication to minimalist art and to the pixel, in all its potential and limitations."  DA

"Tom R. Chambers is blessed with an uncanny ability to marry high concept with visual beauty. He demonstrates his ability to do so with his 'Pixelscapes', where he riffs on the work of the Suprematist artist, Kazimir Malevich, to create wonderfully intriguing art pieces. Chambers' 'Pixelscapes' merge the analog and digital worlds, and the past with the present to create a new kind of imagery that brings wall-based visual art into the 21st century. His work is interesting to think about, and pleasant to look at. What more can we ask for from the art on our walls?"  AR

"Chambers' art epitomizes the double meaning of the word, fragment, an incised part of something already in existence ... and just because of this incision ... is an injury to the finished surface, to the tangle of writing or a finished picture. It is the same and not the same at the same time. Once the signs are scars, then the wounds will tell tales of some non-alleviated history. The post-human art of our era has moved the farthest away from the ideal which reached the calmness of total emptiness by putting instincts to silence ... consequently, Chambers' Pixelcapes."  IH

"Tom R. Chambers' oeuvre stratagem is an investiture of nearly ineffable wonder that says virtual past-present-future brought to the e-world and now the reality of tangible documentation in a venue that Malevich would have been proud to share with you."   HJB