This homage to Kazimir Malevich is a confirmation of Tom R. Chambers' Pixelscapes as Minimalist Art and in keeping with Malevich's Suprematism - the feeling of non-objectivity - the creation of a sense of bliss and wonder via abstraction. Chambers' action of looking within a portrait (photo) of Kazimir Malevich to find the basic component(s), pixel(s) is the same action as Malevich looking within himself - inside the objective world - for a pure feeling in creative art to find his "Black Square", "Black Cross" and other Suprematist works.

Abstract: "Black Square"/"MDM-18/My Dear Malevich", Fourth International Conference on Arts and Humanities 2017, Colombo, Sri Lanka, September 21-22, 2017. ICOAH 2017 hosted by Universiti Sains Malaysia, Malaysia and organized by The International Institute of Knowledge Management (TIIKM) in collaboration with Concordia University, Montreal, Canada.

MDM 6 3D: The six pieces ("My Dear Malevich")(2D) shown in the "Suprematism Infinity: Reflections, Interpretations, Explorations" exhibition (Columbia University, New York City, New York [December 10, 2015]; accepted for the Russian American Cultural Center (RACC) Art Collection, New York City) are transformed 3-dimensionally as "ARCHITECTONS" in keeping with Kazimir Malevich's 3D work. Chambers has taken the "black" out of the pieces except for shading and shadows, and what he likes about this Suprematist journey is its origin within a digitized portrait of Malevich magnified to reveal the pixel configurations as 2D representations, and then extruded as 3D representations (sculptures).


1) My Dear Malevich, 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 (pdf). Click on SIRIE to view photographs (by Cho Eun-mi) of the opening. Note: this work was donated to the Russian American Cultural Center (RACC) Art Collection, New York City (letter).

Note: this exhibition is in conjunction with the "100 Years of Suprematism" conference, Shapiro Center, Columbia University, New York City, December 11 - 12, 2015. It is 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. The two-day conference is organized in association with the Harriman Institute, the Lazar Khidekel Society, and SHERA. It features presentations by an international and renowned group of scholars. Among them are leading researchers in the field from the United States, Russia, and the United Kingdom. The event includes a presentation of "Kazimir Malevich: Letters and Documents, Memoirs and Criticism" (London: Tate, 2015) (pdf) ( Society.htm).

2) My Dear Malevich, Black Square Interpretations and Other Suprematist Explorations (two-person show with Max Semakov), CaviArt Gallery, Russian Cultural Center, Houston, Texas, March 6 - April 7, 2015. Tom R. Chambers and Max Semakov/MiMs Art Group come together to pay tribute to Kazimir Malevich through a series of artworks that interpret his "Black Square", and explore Suprematism. Chambers is based in Houston, Texas, and Semakov is based in Moscow, Russia, which moves this collaboration to a higher plane of exchange between the citizenry of two countries - America and Russia. Chambers and Semakov through their interpretations and explorations move Suprematism in the direction of Neo-Suprematism. Their artworks accentuate and cultivate non-objectivity - the supremacy of pure feeling in creative art. Click on BSIOSE to view photographs (by Cho Eun-mi) of the opening.

3) My Dear Malevich, Beyond the Borders [The Guest section] (Group Show), Novosibirsk Municipal Center of Fine Arts, Novosibirsk, Russia, November 3 - 21, 2010.


4) MDM-1 [My Dear Malevich], Homage: Contemporary Art in Digital Media (Group Show), Art Institute of California, San Diego, California, U.S.A., October 8 - November 8, 2010.

5) My Dear Malevich and Pixelscapes: First and Second Generations, The H Gallery, Houston, Texas, U.S.A., July 10 - August 9, 2010.

6) MDM-1 [My Dear Malevich], Homage: Contemporary Art in Digital Media (Group Show), Escondido Arts Partnership Municipal Gallery, Escondido, California, U.S.A., July 9 - August 21, 2010.



7) 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]

Brochure and Poster:


8) Art Gallery, Fine Arts Department, Zhaoqing University, Zhaoqing, China [April 2 - 15, 2007]


9) Museum of Computer Art [MOCA] [April - 2007]

Other: announcement re: "My Dear Malevich" at the Novosibirsk State Art Museum, Novosibirsk, Russia announcement re: "My Dear Malevich" at the Novosibirsk State Art Museum, Novosibirsk, Russia

Online version

New work [posters] utilizing paintings by Kazimir Malevich to explore pixel configurations for "Pixelscapes":


In 1923, Malevich was appointed director of Petrograd State Institute of Artistic Culture, which was forced to close in 1926 after a Communist party newspaper called it "a government-supported monastery" rife with "counterrevolutionary sermonizing and artistic debauchery." The Soviet state was promoting an idealized, propagandistic style of art called Socialist Realism. In 1930, Malevich was arrested for a short period because of his contacts in Germany. In 1933, he was accused of Formalism. Malevich returned to figurative art, and in 1935, he died of cancer in Leningrad [St. Petersburg].

The premise becomes one of homage a second time - first, "My Dear Malevich" ( - by utilizing paintings by Kazimir Malevich to explore at the pixel level ... via digitization ... aesthetic fields of "Pixelscapes" to rekindle his thoughts about creation, "No phenomenon is mortal, and this means not only the body but the idea as well, a symbol that one is eternally reincarnated in another form which actually exists in the conscious and unconscious person."

The selection process uses the criteria: before and after his Suprematist Period - his early works, 1903-1915 and later works, 1928-1933. His Suprematist works are not a part of the process because they speak for themselves, or in other words, they indicate this art movement focused on fundamental geometric forms and "the non-objective world".

In his book The Non-Objective World, Malevich described the inspiration which brought about the powerful image of the "Black Square": "I felt only night within me and it was then that I conceived the new art, which I called Suprematism."

The "within" as a part of his statement is an important aspect of this approach taken for these "Pixelscapes". In Chambers' opinion and at the subconscious level, Malevich's Suprematist passion and emotions were a part of him - and coming to the forefront - during his early work, and suppressed during his later work. So in a political sense, the pixel explorations indicate this passion and these emotions by looking "within" his digitized paintings to pay homage, a second time.

Suprematism by Kazimir Malevich

Click on poster image to view/download full version (20"X30", 300dpi) for printing:

Other projects involving Kazimir Malevich's "Black Square": Black Square Interpretations

My Dear Malevich Facebook embeds.