What is suprematism?
Suprematism speaks to the mind’s subconscious direction of the artist’s body, seeking the surface-value of emotional priority over the conceptual presence of objectified reproduction. Malevich’s use of geometric motifs with the aid of color transcends antecedent cubist and futurist movement spaces with flatness. It is in the absence of depth that Malevich believes kinetic space exists, between the lines. Suprematism later inspired Jean Tinguely in his meta-mechanical works of the late fifties and early sixties, machines autonomously creating artwork and movement to evolve the spaces of art and perception.
What meta-mac?
Through the use of motorized sculpture, Tinguely eliminated the invariability of stagnant mediums, leaving the artistic decisions to the artwork itself, allowing the work a right to its own identity. Much like Tinguely’s synchronous response to industrialization, Meta- Mac connects with the flourishing development of technology available at the heated touch of a thumb – applications. In the thick of the twenty-first century’s technological ripeness, the available customization of art’s body and blood serves Malevich’s initial desire to illuminate the supreme reality of the world, the reality of feeling. Mocking an idea much like the copy and paste function of computers, Suprematism sought to destroy the dead-weight thought process of reproducing likenesses in the name of art. In the composition of various juxtaposed shapes and colors, art furthers into non-representation and secedes from conscious choice-making clouted with indecision or manufactured understandings of aesthetics. Meta-Mac enables the user to compose their own suprematist piece through the use of coded subject matter understood to follow erratic placement formulas, movement speeds, and color coordination based on participant intervention.
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