However pure sensation gives way to expectation inspired by the moving image and furthered by interactivity. Although the visual syntax of narrative film is avoided, a story is told as the viewer constructs a new experience, lasting as long as he or she wishes.

fMRI brain studies reveal that as we gaze at a semi-clad body, male or female, localized areas like the anterior cingulated cortices light up in response to this "pure sensation"  leading to a cascade of associations, memories and emotional responses. Noting the affinity between the work of Malevich and Kandinsky's Weisses Kreuz (White Cross) of 1922, Lucy Flint observes "the cross is an evocative, symbolic form." Today its evocative power remains beyond "pure sensation."


Suprematist Compostion V Interactive Digital Video Installation
ACM-SIGGRAPH 2006 Art Gallery, Boston, MA July–August 2006


We will not see a pure painting before the habit to see in canvases depictions of nature, Virgins or shameless Venuses is abandoned...

Kazimir Malevich 1916

Suprematist Composition Interactive Digital Video Installation
Hans Weiss New Space Gallery, Manchester Community College, CT Oct. 2005

Suprematist Composition V explores the space between stillness, expectation, surprise or confirmation. Opening the window of the porthole triggers the display of a digital video. Closing the porthole window triggers the redisplay of the Suprematist Cross.

This work is part of a continuing series that re-investigates or remediates the early 20th century reductionist impulse as seen in Russian Suprematist art. Exploring the possibilities enabled by technologies of interaction, Suprematist Composition V not only "refashions" a prior media form but turns it on its head by including prohibited subject matter.

For Kazimir Malevich, "the supremacy of pure sensation"  was the guiding principle and was best expressed by non-objective abstract geometric forms (square, circle, cross).