Tom Chambers

Tom R. Chambers' work offers a compelling exploration of the enduring power of Geometric Abstraction, skillfully recontextualized within the framework of digital media. He doesn't simply replicate Suprematism; he reinterprets it, breathing new life into the movement's ideals through the lens of modern technology. Drawing heavily on pioneers like Malevich, Chambers successfully translates the language of form, structure, and dynamic composition into the digital arena. What sets Chambers apart is his thoughtful engagement with the core principles of both historical movements and contemporary digital capabilities. His compositions are not mere digital renderings of Suprematist ideas. Instead, they feel like a conversation between the past and the present, a dialogue about the utopian aspirations of early 20th-century abstraction and their potential resonance in a digitally-mediated world. The bold color palettes and meticulously arranged geometric shapes, so characteristic of his inspiration, are elevated through the clean lines and precise control afforded by digital tools.

BS, Midwestern State University, Wichita Falls, Texas, 1969.

Tom R. Chambers is a visual artist (digital/new media and mixed media), documentarian, curator and educator with over 100 personal exhibitions worldwide. He has also curated numerous exhibitions in the U.S.A., Zimbabwe, China and India.

He is currently working with the pixel as Suprematist and Geometric Abstractionist Art, and Kazimir Malevich’s “Black Square”. His "My Dear Malevich" project has received international acclaim, and it was shown as a part of “Suprematism Infinity: Reflections, Interpretations, Explorations”, Atrium Gallery, Harriman Institute, Columbia University, New York City, New York (December 1, 2015 - January 22, 2016) and in conjunction with the "100 Years of Suprematism" conference, Shapiro Center, Columbia University, New York City (December 11 - 12, 2015) (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.).

Chambers curated the two-person (him and Max Semakov [Moscow, Russia]) exhibition, “Black Square Interpretations and Other Suprematist Explorations”, which was shown at the CaviArt Gallery, Russian Cultural Center, Houston, Tex...

Digital Suprematism – Geometric Abstraction (DSGA) Exhibitions/Residencies

“DSGA 75", "DSGA 132", "DSGA 176" and "DSGA Crossover 1", "Digital Suprematism - Geometric Abstraction (DSGA)" project, "DIGITAL AGORA” (group show), 4th International Digital Art Triennial, Pesti Vigadó, Budapest, Hungary, May 26 - August 16, 2026.

“DSGA 270”, “DSGA 314”, “DSGA 336”, “DSGA 373” and “DSGA 196 Color Pallet Extraction”, GEOMETRIC ABSTRACTION, Arti et Amicitiae, Amsterdam,
The Netherlands, May 18-29, 2026.

"DSGA 225" and "DSGA Crossover 1", "Digital Suprematism - Geometric Abstraction (DSGA)" project, "ABSTRACT" (group show), National Art Museum,
Cluj-Napoca, Romania, December 10, 2025 - January 4, 2026.

"Digital Suprematism - Geometric Abstraction and Its Hybrid Subprojects" (solo show), Contemporary Art Museum of Uzbekistan, Urganch, Uzbekistan,
November 14, 2025 - February 1, 2026..

"DSGA 75", "DSGA 132", "DSGA 176" and "DSGA Crossover 1", "Digital Suprematism - Geometric Abstraction (DSGA)" project, "DIGITAL AGORA” (group show), 4th International Digital Art Triennial, Babits Mihály Cultural Center/The House of Arts, Szekszárd, Hungary, November 8-30, 2025.

Artist Residency, “Mark Rothko - Hallowed Ground” (Excavation ... at the pix...