Tom Chambers

Tom R. Chambers is a documentary photographer and visual artist, and he is currently working with the pixel as Suprematist Art ("Pixelscapes") and Kazimir Malevich's "Black Square" ("Black Square Interpretations"). He has over 100 exhibitions to his credit. His "My Dear Malevich" project has received international acclaim, and it was shown as a part of the "Suprematism Infinity: Reflections, Interpretations, Explorations" exhibition in conjunction with the "100 Years of Suprematism" conference at the Atrium Gallery, Harriman Institute, Columbia University, New York City (2015).

His "Digital Suprematism" series that is showcased on TurningArt works with shape, form, color, and line to produce abstractions that when greatly enlarged, provide an excitation factor via the elements of Geometry. These bold pieces … stemming from the pixel … rival Color-field, Minimalist, and Geometric art works created by painters over many decades. Their design aspects complement industrial and aesthetic surroundings.

An art critic states:

"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. Was Malevich thinking in "pixels" without knowledge of the term and even many decades before the fact of the technology, which utilizes this basic component? His association with Futurism might account for this sort of metaphysical connection. And, so it is that we have the aspect of this exhibition that straddles a whole century of art. From the earliest beginnings of Modern art to the latest developments in the tools by which the newest works are being made. The ground that is covered is immense, but the time between the two virtually disappears in this exhibit. It seems that with 'My Dear Malevich' it is not a matter of what is old (or new) being new (or old) again; but that what is 'old' and 'new' exists simultaneously. That which is 'gone' is also, at the very same time, ever-present."

View Available Works

• Cluj-Napoca National Art Museum - Cluj-Napoca, Romania, 2025
• NUKUS MUSEUM OF ART - Nukus, Uzbekistan, 2025
• CONTEMPORARY ART MUSEUM OF UZBEKISTAN - Urganch, Uzbekistan, 2025
• National Center of Contemporary Arts - Minsk, Belarus, 2024
• D-Art Gallery, 24th International Conference Information Visualisation Conference - Melbourne, Australia and Vienna, Austria, 2020
• D-Art Gallery, 23rd International Information Visualization Conference - Paris France and Adelaide, Australia, 2019
• D-Art Gallery, 22nd International Conference on Information Visualization - Salerno, Italy, 2018
• Tolijatti State Art Museum - Russia, 2017
• Digital Art Community (DAC), SIGGRAPH 2017 - Los Angeles, California, 2017
• Museum of New Art - Troy, Michigan , 2015
• CaviArt Gallery, Russian Cultural Center - Houston, Texas, 2015
• Harriman Institute, Columbia University - New York City, 2015
• American University of Paris - Paris, France, 2011
• Eumeria Gallery - Tokyo, Japan, 2011
• Art Gallery, Fine Arts Department, Zhaoqing University - Zhaoqing, China, 2007
• Novosibirsk State Art Museum - Novosibirsk, Russia, 2007
• National Institute of Design - Ahmedabad, India, 2006
• Kumho Art Center - Gwangju, South Korea, 1997
• National Gallery of Zimbabwe - Harare, Zimbabwe, 1995
• The Museum of Contemporary Art, Wright State University - Dayton, Ohio, 1992
• Faculty Club Gallery, Brown University - Providence, Rhode Island, 1987
• The Silver Bullet Gallery - Providence, Rhode Island, 1986
• Southern Light Gallery, Amarillo College - Amarillo, Texas, 1985

• Midwestern State University, BS - Wichita Falls, Texas,1969 

• American Photo Magazine/Dyer Street Portraiture - March, 1986
• American Photo Magazine/Dyer Street Portraiture - July, 1989
• Austin American-Statesman/Hot City - February, 1992
• Providence Monthly/Retro Providence - October, 2016
• Providence Journal Bulletin/Mother's 45s - April, 1990
• The Phoenix's New Paper/Mother's 45s - April, 1990
• Kumho Culture Monthly/People to People - May, 1997
• The Sunday Mail Magazine/Variations on the Dan Mask - December, 1995
• Providence Journal-Bulletin/Descendants 350 - October, 1986
• Warwick Beacon - June, 1987