Suprematism

SUPREMATISM – ‘TRANSITIONAL PHOTOGRAPHY’
Suprematism was a highly geometric style of early 20th-century non-objective abstract painting, ignoring the familiar appearance of objects, developed by Russian avant-garde artist Kazimir Malevich (1879-1935).

In purest form, images are very geometric, against a white background, disclosing shape, line and colour, producing energy and dynamics.

My Compositions:

A single scene is selected, photographed and reduced, to its geometry, through rejection & separation, producing a photographic abstraction that has independence of form. Everything else is insignificant and of no artistic value.

The abstracted elements ; geometry, colour (including white), lines, and space, form the basis of a ‘new’ composition that provides it’s own energy and dynamics. New states of harmony, order, tension and volume are achieved. The photographs raw dynamics are enhanced and elements can provide; lightness, weight, flow, rise, fall, float, cluster, advance and recede. A concept of ‘static motion’ prevails.

The exclusive use of “white space”, representing infinity, enhances the dynamics and a state of equivalence. Colours take on a prominence and new visual beauty.

Reality has now gone, only the ‘essence’ of the original image remains. Devoid of coherent meaning, conventional forms of expression are now abandoned, subjectivism and ambiguity prevails.

The loss of literal representation opens up viewer participation. Creation from within is achieved, not just from the author but also for the viewer.

Photography is now close to zero point and at it’s purest and most creative; light, colour, shape and the viewer.

The abstracted elements celebrate a photographic purity that was masked by ‘other things’, crossing a boundary into a domain of new creative possibilities to produce extremely original images.

Photography has surrendered to art.