Malevich did not make his black squares for the core reason of bringing materiality to the forefront of the dialogue. No, that is too simple of a theory. Malevich was breaking the third dimension traditionally depicted on the canvas, to reveal the eternity of the fourth dimension. His paintings are free of distance, direction, all aspects characteristic of our three dimensional experience. But the minds of the historians and critics were limited, as the mind is inherently trapped in time, logic and reason. And since Malevich’s work transcended such aspects of the mind, the historian could never fully get to the truth of Malevich’s work. Instead, they falsely theorized his work as a conversation about materiality, trapping his work inside the limits of their mental web of clever ideas. This in fact, could not be more incorrect. Malevich was expressing the eternal divine, where the chains of time turn to grains of sand, where all that ever was, is and will be, is always now.
Thoughts: Malevich, Materiality & The Divine
in Visual Art
