PEMBROKE, NORTH CAROLINA.- Featured artist at the University of North Carolina-Pembroke Digital Content Consortium (DCC) Conference to be held March 28-29, 2003 with the Pixelscapes exhibition to continue at the University of North Carolina Art Department/Media Integration Project through May 15. Minimalist in their approach, these Pixelscape compositions cease to function as a reflection of reality through image magnification and pixel configuration. Chambers hopes that they are capable of evoking a spiritual experience and in keeping with similar beliefs of the early Pioneers of Abstraction and Minimalism. These Pioneers practiced Art as a metaphysical quest for higher truth, and these Pixelscapes possibly move in a similar quest or direction as it relates to placement, juxtaposition and color-field excitation. In favor of felt experience, these Pixelscapes begin to transcend the Digital Art genre by making use of themselves.  And because of the magnification, a revelation of sorts exists through seen pixels.
JD Jarvis, Art Critic, states about Chambers’ Inside-deep Series:  "The genre of Minimalism makes a good verbal foundation for the work Chambers is exploring. This new generation of work is challenging even those distinctions. In terms of minimalism, these works seem almost elaborate, with strong patterns emerging from the basic structure that is the single pixel. Taken to the next extreme would be a sculptural arrangement of individual squares (pixels) of a single color. As if pixels have liberated themselves, through magnification, from any other context and are now present as individual entities in ’non-virtual’ space. The potential for a huge installation referenced as a unit (pattern) from a great distance or seen as individual bits up close has implications for an individual’s life within a global community, as well as, commenting on digital communication/art."
Tom R. Chambers, a Documentary Photographer and Visual Artist for over thirty years, is currently working with digital generation and manipulation as an art form under the namesake of New Directions and Pixelscapes, which begins to approach a true abstract, visual language in Digital Art.   He has exhibited his Documentary Portraiture and Visual Arts throughout the U.S.A. and worldwide (over forty exhibitions); and his mixed media and interactive work, Mother’s 45s, was selected through national search (U.S.A.) for exhibition as a part of the Parents show at the Museum of Contemporary Art, Wright State University, Dayton, Ohio, U.S.A., 1992.  American Photo magazine listed one of his Photodocumentary projects, Dyer Street Portraiture, in its Notable Exhibitions section, March, 1986 issue.   Chambers also completed a three-year tour as Art Conservator and Curator for the National Gallery of Zimbabwe and as the Initiator/Instructor of The McEwen Photographic Studio for the National Gallery’s Art School.