Suprematism Legacy

This project is a part of research on how classic art may be translated into the realm of new class of devices — digital art screens. These devices make motion, dynamics, connectivity and real time calculations easily available for use in artworks. So how can it affect classic art?

As a first step in this research I chose 5 artworks of Russian suprematists from early 20th century to explore the dimension of dynamism and space that pioneers of geometric abstract art expressed in their art in static form. I wanted to understand what motion, dynamics and 3rd dimension can add to the original artwork. I tried to preserve the original artwork in the first place, and add all the rest as a kind of digital layers. I wanted to imagine what artists themselves would do if they had the tool we have today.

Black Circle

Kazimir Malevich, 1915

Black Circle is among the most well known paintings of Kazimir Malevich, founder of suprematism movement. Malevich searched for absolute aesthetics, and these searches resulted in his theory of non-objective art, that at the end is denying art itself in its traditional form.

As Michael Brenson noted, suprematist art is «utterly selfless and anonymous yet distinct; it is a dense emptiness, or full void; it is atmospheric, yet it has little air; it is not open or closed, but both at the same time».

Art tending to zero

Black circle along with Black square and Black cross bring art to the edge of its existence, to its absolute zero beyond which there is no art.

It is just an absolute black form that has no detectable size or mass — it may be a gigantic black hole viewed through telescope, or some smallest particle viewed through microscope. And yet however you view it, it still has some vibrance and magnetism.

If you look into it long enough you will see everything.
Black Circle, Kazimir Malevich, 1915
Black circle, 1915
oil on canvas, 106 × 105,5 cm
Animated reproduction for EO1

Suprematism, 18th Construction

Kazimir Malevich, 1915

It was Malevich the first painting for the series called ‘Art masses in motion’. The series name is fabulously self-explanatory. And I believe that’s what our goal should be today — to further explore how to put art masses in motion.

Suprematism, 18th Construction, Kazimir Malevich, 1915
Suprematism, 18th Construction, 1915
oil on canvas, 53,3 × 53,3 cm
Animated reproduction for EO1

Red Circle on Black Surface

Ilya Chashnik, 1925

This is the continuation of space direction in suprematism initiated by Kazimir Malevich and well advanced by Ilya Chashnik. Created in 1925 this painting is a great signal about upcoming space era. The significant part I love about this painting is how Chashnik in his pre-space era could extract and depict this symbolic part about space in a way that even 100 years since then it is still so up to date.

Red Circle on Black Surface, Ilya Chashnik, 1925
Red Circle on Black Surface, 1925
oil on canvas
Animated reproduction for EO1

Suprematism

Ivan Kliun, 1916

As Kliun himself wrote «if art is dead smashed by Malevich’s Black Square, the color is not, and the new art is the art of color». Being initially an active follower of Malevich, Kliun later broke with suprematism and stated turning to the living art of color. And Kliun’s paintings are bursts of color masses.

Suprematism, Ivan Kliun, 1916
Suprematism, 1916
oil on canvas, 71 × 89 cm
Animated reproduction for EO1

Red Light Spherical Composition

Ivan Kliun, 1923

Another painting by outstanding Ivan Kliun. What I love about this painting is that it is so out of its time, it looks like a computer generated piece. The geometry of its red glowing thing dissolves in this mysterious blurry light. And the focal pulsing center may move you into meditation.

Red Light Spherical Composition, Ivan Kliun, 1923
Red Light Spherical Composition, 1923
oil on canvas
Animated reproduction for EO1
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