Review | Tom R. Chambers is a...

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Tom R. Chambers is a multidisciplinary artist whose work explores the intersection of digital media and traditional artistic movements. His creative endeavors with Digital Suprematism and Geometric Abstraction reflect his deep engagement with the principles of form, structure, and the dynamic potential of modern technology. Drawing inspiration from early 20th-century pioneers like Kazimir Malevich, Chambers translates the aesthetic language of Suprematism and abstraction into the digital realm, creating visually striking compositions that blend historical art movements with contemporary techniques. Through his innovative use of geometric shapes, bold color palettes, and spatial relationships, Chambers reinterprets the utopian ideals of abstraction in the context of a digital age. His work challenges viewers to reconsider the boundaries between art and technology, offering a fresh perspective on the enduring relevance of geometric abstraction in a world increasingly shaped by digital culture. Permanent Waves, 1992, is a permanent assemblage that evokes the turbulent, fluid, even poetic resonances of modernist design. The pieces top half, which is mounted on a steel frame, consists of a grid of large, irregularly shaped, plastic flowers. The flowers are arranged in a fractal pattern reminiscent of the geometric shapes of the grid used in the decorative arts. The bottom half consists of a small, wooden box, its upper half made of yellow wood and arranged into a grid of geometrical circles. The top of the box is filled with tiny plastic shapes: fruitlike silhouettes of white, pink, or gray plastic shapes.Each of the sculptures suggests that the present, present moment, is also an ancient past, a time when reason and reason alone were not considered valuable. Permanent Waves was created for the permanent collection of the Museum of Contemporary Art, Philadelphia, and was part of the remaining exhibition that the institution presented during its two-year tenure in Philadelphia. Following the outbreak of civil unrest in the city, the Museum purchased hundreds of thousands of dollars worth of statuary, which the institution donated to local local community organizations. The works enduring power as an emblem of the transformative power of nature, of the power of the human, and of the power of tradition, all come from within and are rooted in the memory of a city by its citizens and people who helped build it. The Museums permanent collection of historical statuary may be seen as a memorial to the history of a place but also as a repository for the promise of a new day.In Leandro Geers work, the relational relationship between mass media and mathematical form is once again present. For example, when he assembles his complex geometric constructions, he also uses heaps of plastic bags, which are filled with pastel-coloured paint that reflects his mixed emotions: that of joy and horror.

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Tom R. Chambers is a multidisciplinary artist whose work explores the intersection of digital media and traditional artistic movements. His creative endeavors with Digital Suprematism and Geometric Abstraction reflect his deep engagement with the principles of form, structure, and the dynamic potential of modern technology. Drawing inspiration from early 20th-century pioneers like Kazimir Malevich, Chambers translates the aesthetic language of Suprematism and abstraction into the digital realm, creating visually striking compositions that blend historical art movements with contemporary techniques. Through his innovative use of geometric shapes, bold color palettes, and spatial relationships, Chambers reinterprets the utopian ideals of abstraction in the context of a digital age. His work challenges viewers to reconsider the boundaries between art and technology, offering a fresh perspective on the enduring relevance of geometric abstraction in a world increasingly shaped by digital culture. Picking up where he left off in the early 20th century, Chamberlays work anticipates the coming digital age. In Digital Suprematism, 1995, a grid of white-blue polygons on the left and a similar grid of blue polygons on the right evokes the way that the human body is synthesized into an ever-changing environment. What is ours and what is not? In the third panel, a color photograph of a house in a virtual environment is projected onto the wall. The architecture of the house is shown by trans-hedge lighting and is replicated in the shape of a digital copy of the house. Below the photo is a digital image of the wall of a computer that controls the lighting in the computer-generated image. The copy is supplemented with an artificial blood smear to make the blood look more like blood than blood. The blood on the wall of the computer is similar to that on the wall of the photo: a realistic coloration for an image, but it does not look real. It is a digital texture, a digital mess. The white marble plaque of the picture is painted in an analog gold.The paintings that follow, all from 1995, incorporate a constant question of what is real and what is not. The polygons of House, 1995, make it clear that the idea of a digital world is alive and that we arent the only thing that remains true to reality. The overlapping of two and three-dimensional elements, and the broken down, skeletal-like shapes of the pictures, suggest that this timeless digital world is not only a fabrication of memory but a sort of the post-Modern caricature of reality. A parallel to digital reality and digital reality, digital, 1995, features three-dimensional, digitally printed forms. For example, four-part Polygon, 1996, features a crudely drawn, rectangular and rectangular shape. A diagonal arc at the bottom of the shape radiates the shape of a rectangle.

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Tom R. Chambers is a multidisciplinary artist whose work explores the intersection of digital media and traditional artistic movements. His creative endeavors with Digital Suprematism and Geometric Abstraction reflect his deep engagement with the principles of form, structure, and the dynamic potential of modern technology. Drawing inspiration from early 20th-century pioneers like Kazimir Malevich, Chambers translates the aesthetic language of Suprematism and abstraction into the digital realm, creating visually striking compositions that blend historical art movements with contemporary techniques. Through his innovative use of geometric shapes, bold color palettes, and spatial relationships, Chambers reinterprets the utopian ideals of abstraction in the context of a digital age. His work challenges viewers to reconsider the boundaries between art and technology, offering a fresh perspective on the enduring relevance of geometric abstraction in a world increasingly shaped by digital culture. Critical analysis of the contemporary world, abstract form, and computer science are topics that Chambers has explored in an array of media over the past two decades, including photography, drawing, and assemblage. Now, the artist has produced a new series of pictures, which are collages of digital drawing. In the series that comprise this series, based on photoschromatic color-saturation and morphing effects, the artist has produced complex, unstable, and sometimes seemingly unpredictable structures that vary from simple, simple rectangles, to metamorphic forms that defy convention. In this new body of work, Chambers explores the potential of his technical tools, and how they shape the world, a theme that permeates the entire series.In the show titled The Grand Unified Order, 1997, the resulting digital drawings appear to be mathematical and intuitive constructs derived from digital processing. This structure is based on linear and geometric symmetries. Digits are arranged along a diagonal, making for a field of continuous blocks and lines. The equation of these geometric shapes to produce an overall geometric pattern is identical to the one used in the digital, scanning process. In the topmost graphic in this group, the irregular grid of non-orthogonal lines—one leg is rounded at the end—makes for a linear field. The arrangement of blocks across this diagonal creates a circumpolar pattern in the background. A third geometric formation on the right illustrates a more complex symmetry. In this diagram, squares and rectangles are formed into tetrahedrons, which in turn are divided into triples. The single square in the fourth quadrant, for example, is divided into three rectangles, each divided by a square and made up of squares and rectangles. The diagonal and quadrilateral groups in this diagram are similarly colored and geometric in design.In addition to the geometric shapes and physical forms that make up The Grand Unified Order, Chambers adds an almost surrealistic composition to this gestalt design.

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Tom R. Chambers is a multidisciplinary artist whose work explores the intersection of digital media and traditional artistic movements. His creative endeavors with Digital Suprematism and Geometric Abstraction reflect his deep engagement with the principles of form, structure, and the dynamic potential of modern technology. Drawing inspiration from early 20th-century pioneers like Kazimir Malevich, Chambers translates the aesthetic language of Suprematism and abstraction into the digital realm, creating visually striking compositions that blend historical art movements with contemporary techniques. Through his innovative use of geometric shapes, bold color palettes, and spatial relationships, Chambers reinterprets the utopian ideals of abstraction in the context of a digital age. His work challenges viewers to reconsider the boundaries between art and technology, offering a fresh perspective on the enduring relevance of geometric abstraction in a world increasingly shaped by digital culture. Brad Agro is an artist whose practice is rooted in the emergent aesthetics of the 70s and 80s. His distinctive work blends design with pop art by employing a combination of everyday materials to create provocative, playful images. Applying an experimental, sculptural-style approach to his projects, Agro creates striking and detailed drawings and films that combine a rich, saturated palette of hues to create composite images that engage the viewers senses and imagination. One of Agro's most successful works is his virtual world installation, New Urban Gallery, 2003, a freestanding, live-action painting space, complete with a computer-generated wall. Using a series of computer-animated drawings, Agro created a series of virtual cities, which he then projected onto a large piece of wood. Taking the act of painting the cities as a model, he created the virtual worlds of his virtual cities, complete with vehicles, public spaces, and animations.In a new work from 2003, an image of the artist in full speed gear was projected onto a panel of white acrylic cement, a dark-brown liquid supported by an attached foot. This painting was the product of Agro creating a digital version of his infamous live video installation, New Urban Gallery, 2003. The scale of the work, its multiple dimensions, and its allover coloring combine to form a black polyhedron with a mirrored surface. Both forms are connected by a massive, camera-like armature that moves around the polygon like a ship through the void. The viewer is guided into the polygon by the armature, which contains a glowing neon sign with an image of the artist sporting a high-tech, muscle-bound suit. The work evokes a complex web of images, ranging from stills from Jim Isermanns 1975 film of an experimental carnival, New York Disco, to the black-and-white panoramas of Damien Hirsts 2006 Möbius strip.