Here you can find all of KAZoART’s geometric artists. For them, line, form and volume carry as much artistic value as figurative art. They know how to get back to the basics and depict the simpler things. That said, geometric artists are capable of producing highly complex compositions when mixing geometric abstraction with geometric figuration. It is an enriching and intriguing combination that you will have the pleasure of seeing on KAZoART so keep your eyes peeled!
With abstraction and the artistic movements it generated in the 20th century (constructivism, supremacy, minimalism, etc.), geometric abstraction artists were particularly interested in the canvas’ picture planes. The compositions of the famous works by Vassily Kandinsky, Fernand Léger, Théo Van Doesburg, Auguste Herbin, François Morellet, Max Bill, Daniel Buren, Josef Albers, Jesus Rafael Soto, Kasimir Malevitch and Piet Mondrian demonstrate a mindfulness of space, pattern and their relationship to one another.
Their compositions obey very particular rules according to each theorist, ranging from the economy of the line and the use of sober colours to its opposite. In all productions by geometric artists, they believe that forms have aesthetic power over the viewer's psyche.
Geometry and mathematics have always been present in art. Perhaps in a more subtle way for the viewer, when he looks at a late Renaissance masterpiece without knowing that the composition of the painting has been calculated at length by a geometric artist, than when he finds himself face-to-face with a cubist or minimalist canvas.
Paintings that fall under the category of geometric art (made by geometric artists) are generally composed of lines and colours, so the shapes that come to life through the artist’s brushstrokes constitute the geometry of the composition. Not necessarily finished or perfect, geometry can appear in more discreet forms (a line crossing another line, a symmetrical point to another, etc.). When it is clearly claimed by the geometric artist as an integral part of the work, participating in its message, it then becomes part of its identity. This was particularly the case among the constructivist, supremacist and minimalist vanguards of the 20th century.