Malevich’s late figurative works bear the clear influence of non-objective ideas and his pure abstract constructions, offering an exciting example of figurative abstraction.
“Cosmic Suprematism has here emerged from its coloured rectangles and taken on human form, but its contemplation of transcendent and universal evolution still prevails.
The designer was inspired by the famous painter’s belief that “the object has no meaning in itself, but only when it is expressed and filled with colour
Symbol and Metaphor in the Experience of Space. The triad, the triangle according to Pythagoras and to the Chinese philosophy, the Holy Trinity in Christianism, give birth to the universe. … the myth, the instinctive, emotional conception and experience of the essence, the gist of all the things that compose our tangible environment.
Julia Dozsa made this theory her own and gave life to Kazimir, the original screen with a metal structure covered in stretch jersey fabric. Dozsa personalised it with the bright colours that are typical of Malevich’s paintings to fill in the shapes, or rather, the “containers” of these colours.
Pushing herself even further, she extended the proposal of her interior decoration “art pieces” to other colours and subjects (flowers, petals, objects, etc.) that echo the details of the paintings preserved in the Rijkmuseum in Amsterdam.
Details of paintigns of the Rijksmuseum Amsterdam