Nonobjective form or art could be abstract art or sculpture that carries no reference to the natural world. The artists and sculpture make use of non-naturalistic motifs and geometrical imagery to create non-objective art or form (Non-Objective Art 2016). However, not all abstract art are nonobjective forms as the abstract representation may at time use images derived from natural sources. Suprematist art was looking for ways to interpret reality without conventional means of a representational imagery and through the eyes of Suprematist, the non-objective space could be applied to surface tonality with a concern for sensation and feeling (Elliott 3). The subject of a non-objective art or form may not be the geometric forms necessarily but the unseen forces they want to portray. There is no pictorial representation of the natural world in the purely non-objective forms, and yet those unseen forces may lend a concrete quality to the geometric forms as stated by Elliott (4). The nonobjective art is not about any shape or figure or geometry, but more about the forces it creates.
Suprematism is considered superior to earlier movements such as Cubism and Impressionism as these depend on derivative methods to access the sensation beyond the object. The artist Kazimir Malevich sought to express a direct relation between the forms on the canvas and idea of space. He is well known for using geometric forms to create as sense of motion or magnetic attraction without any representation of familiar objects from the real world (Elliott 6). It is a fact that avant-garde artists such as Malevich revolutionized the art world with their non-objective art. The general aim was to push art to a higher level. The artists from the twentieth-century artists still worked in the traditional educational sphere, and the academy did not encourage forward thinking as stated by Elliott (9).
Dynamic Suprematism 1915 or 1916
Kasimir Malevich is considered to be the pioneers of non-objective art and believed in the purity and simplicity of geometry, which he believed to be the highest form of beauty. He embraced the philosophy of non-objective art through his simplified geometric art, aiming to touch higher spiritual dimensions.
Soruce: Beaven, Kirstie. Dynamic Suprematism 1915 or 1916. Tate Gallery.Web. 16 March. 2016.
His work came to be known as the minimal art and a good example can be taken from the ” Dynamic Suprematism” that creates harmonies that are not to be found in the physical world. Those experiences are possible only through art and are beyond human experience. His work evokes the forms and energy in their non-objective in a representational style. The composition made of rectangles, triangles and circles in contrasting colors create a greater energy and seem to pull and push within the composition, developing a tension that is felt by the viewer. The geometric shapes on this canvas are deployed in some kind of three-dimensional space and where more shapes can be developed. The big triangle lies on one layer above the canvas while the smaller shapes concentrate on another layer on top of it. The shapes inhabit different layers and levels and live in perfect harmony to their layered habitat. Those geometric shapes are the complete opposite of the living and are undeniably biomorphic. The big triangle on the background acts a support and those geometrical shapes may seem lifeless but certainly carry life and tension within. This is how non-objective art forms work and connects with the viewer.
Works Cited
Elliott, Deborah E. "The New Architecture Iakov Chernikhov and the Russian Avant-Garde." The Ohio State University1.1 (2006): 1-58. Print.
."Non-Objective Art." Encyclopedia Of Art Education. 2016. Web. 16 March. 2016.
