역동적 절대주의

By 1915 Russia was more than a year into the world war, and that December Malevich hung a room of new paintings in Petrograd at a show he titled '0,10'. He had stopped painting objects altogether. In their place came flat coloured shapes floating on white, a language he named Suprematism. This canvas belongs to its more restless side. Where the famous Black Square from that same room sits dead still, here the bars and quadrilaterals tilt and scatter as if caught mid-drift, which is the sense he meant by dynamic. There is no horizon and no up or down, only forms holding their tension against bare white. Malevich treated that white as open, edgeless space, the feeling of looking into depth with nothing to measure it by.