When discussing ‘Encoded Suprematism’, it would be difficult to overlook the fact that its inspiration comes from an art movement, founded by Kazimir Malevich. Just as Suprematism focused mainly on basic geometric forms, such as circles, squares, lines, etc, my photographic compositions, which are full of cubist shapes, reflect a personal and simplified form of ‘Malevich’s grammar’. These photographs reveal the dialog between dimensional forms that are found in the world surrounding us, and advanced forms used in art.
Geometric abstractions, sometimes created as a result of pure coincidence or an unwitting intervention, constitute a specific form of coded information. Arranged in stable, architectonic compositions, these fundamental art forms of abstraction follow Malevich’s vision about the world’s only true reality: that of absolute non–objectivity.
The visual characters are being replaced with a minimalism–style aesthetic, a new language. No longer linked to the objects they identified – they are insignificant. As Malevich said, ‘forms must be given life and the right to individual existence’.