Tom R. Chambers ... Visual Arts

["A touch of Africa" by Joel Chadabe]


Tom is a Documentary Photographer/Visual Artist currently working with digital manipulation/generation as an art form. Along with several online exhibitions, he also has over thirty real-world exhibitions to his credit thus far.

It has been written of his work and him that- "Chambers nurtures the psyche to a level where the technique becomes second nature, so the subconscious prevails over the conscious (the physical doing). For him, this is where this quality called, 'creative', or the ability to make 'art', is found within all of us. Technique is only a means to that end, but many would-be artists flounder, because they have become good craftsmen only, by mastering just the technique and not themselves (their subconscious). Once this subconscious comes to the forefront with a medium, and in this case, digital, the image or the incorporation of the image as a part of a whole, transcends the medium and becomes 'truth' for its creator. In other words, the image itself or as an item, has no significance. What is significant is the ability of the artist's subconscious to offer 'truth' through the image or the incorporation of the image as a part of a whole to evoke viewer response and effect change, whether it's within the subtleties of a straight-forward image or within a blatant juxtaposition of an image with other media."

Amongst much else, Tom is on the Faculty for and, and was Artist In Residence for the 3rd quarter/2000 at and Featured Guest (September 2000) at He's also organized and curated two hyperlinked photo exhibitions for the PhotoForum membership under the auspices of the Rochester Institute of Technology (RIT, NY). However, as he becomes more and more involved with digital manipulation/generation as an art form and the Internet, Tom continues to pick up his well-worn Nikon FE2s to generate conventional documentary projects.

Photo Shop

Passport to Nowhere



Fish Story

Corel Photo-Paint

Home Sweet Home


Mutation II

First Love

Xara 3D

Three-sixty Night Flight
Crossover Ribbon Rush


In the shadows of the Pioneers of Abstraction, these Pixelscapes begin to approach a true abstract visual language in Digital Art. The compositions cease to function as a reflection of reality through image magnification and pixel configuration. It is hoped that they are capable of evoking a spiritual experience and in keeping with similar beliefs of the early Pioneers. 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 within, or in other words, this quest for higher truth is Minimalist in its approach, and because of the magnification, a revelation of sorts exists through seen pixels. The various namesakes are to move them ... explain them ... in the direction of Realism, and to remove these namesakes is the appropriate action to understand them as they are ... expressions of universal harmony evoking bliss and wonder.





Other Works

Tom has exhibited his work as a part of a two-person show, 'People To People' (a series of documentary portraits of the Korean people), at Kumho Art Center, Kwangju, South Korea (1997); and this coverage was accepted as a part of the Kumho Art Foundation Archives Permanent Collection.

He completed a three-year tour (1993-1995) as a United States Peace Corps Volunteer in Harare, Zimbabwe, Africa as an Art Conservator/Curator for the National Gallery of Zimbabwe and as the Initiator/Instructor of 'The McEwen Photographic Studio' for the National Gallery's Art School: research/classification and computerization of the National Gallery's Permanent Collection to produce a catalogue; and instruction of a fine arts/documentary photography workshop for Africans (exhibitions held of the students works: 'Moments In Time' (1993), 'Moments In Time II' (1994) and 'Moments In Time III' (1995) at the National Gallery).

He was invited by the National Gallery to exhibit 'Variations On The Dan Mask' (a conceptual look at the African mask form through manipulation of the photogram technique) (December 1995; officially opened by the U.S. Ambassador to Zimbabwe); and he received a U.S. Government Grant via the United States Information Service (USIS), Harare to exhibit 'Southwest Of Rusape: The Mucharambeyi Connection' (a series of documentary portraits of the African people) at the USIS Gallery (June-July 1995; officially opened by the U.S. Ambassador to Zimbabwe; and accepted as a part of the USIS Archives Permanent Collection).

He has exhibited his fine arts/documentary work throughout the U.S.A. (over thirty exhibitions), and his mixed media/interactive work, 'Mother's 45s' (a tribute to his mother through a combination of her 45rpm records, family photographs and sound (music from the records)), was selected through national competition 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 documentary projects, 'Dyer Street Portraiture' (a look at the culture mix on a particular military street in El Paso, Texas, U.S.A.), in its March, 1986 issue. His documentary project, 'Descendants/350' (a look at Rhode Island's (U.S.A.) early history through a combination of portraits of Descendants of the Founding Fathers and historical text), was shown throughout Rhode Island (ten sites) and accepted by the Secretary of State (Rhode Island) as a part of the Rhode Island State Archives Permanent Collection (1990) (received a Governor's (Rhode Island) Proclamation); and his documentary project, 'In Black And White' (a look at Black culture and influence in Rhode Island) was shown and accepted as a part of the Rhode Island Black Heritage Society Permanent Collection (Providence, Rhode Island, U.S.A.) (1989).

He founded and directed a not-for-profit, photographic arts organization and gallery, 'Viewpoint', Lubbock, Texas, U.S.A. (American Photo magazine reviewed one of the exhibitions at the gallery in its April, 1983 issue) (1982-1983); and founded and directed a not-for-profit, photographic arts organization, 'Photoreach', Providence, Rhode Island, U.S.A. (1990).

He was listed (1984-1991) in the Artists-In-Education roster with the Rhode Island State Council for the Arts (RISCA) (U.S.A.), and served as an Advisory Panelist for RISCA to determine funding for residency programs. He also served as an Advisory Panelist for the State of Connecticut Commission on the Arts (U.S.A.) to determine funding for residency programs.

He provided documentation of the homeless and poor in Rhode Island (U.S.A.) for the Rhode Island Food Bank (1986); provided documentation of the elderly in Rhode Island (U.S.A.) for Brown University (Providence, Rhode Island, U.S.A.) and the Andrus Foundation/American Association for Retired Persons (1987); and provided documentation of city life and politics for the Executive Office of the Mayor, Providence, Rhode Island, U.S.A. (also for the Rhode Island Delegation at the Democratic National Convention, Atlanta, Georgia, U.S.A. - 1988), which culminated in the exhibition, 'Hot City', at the Rhode Island Hospital Trust National Bank, Providence, Rhode Island, U.S.A. (1989) (1985-1990) (received a grant and Mayor's Proclamation).

He conducted Polaroid workshops for at-risk, inner-city youth in Providence, Rhode Island, U.S.A. for Metro Arts (grants from the Polaroid Foundation); and served as an Advisory Panelist for the organization (1986-1990). And he produced and directed visual arts/performance arts presentations, 'VP90 (Release)' and 'CYSX2' as a part of 'First Night Providence', Providence, Rhode Island, U.S.A. (1989-1991).

Dyer Street Portraiture (Texas, U.S.A./1983)





Southwest of Rusape: The Mucharambeyi Connection (Zimbabwe, Africa/1992)





People to People (Kwangju, South Korea/1997)





Forever Roses Not

Tom R. Chambers
43-3, Bumeo-3Dong, Susung-Gu
Taegu 706-013
South Korea
tel: (82-53) 746-1008

(note: Tom moves to NYC in March 2002 to be curator for a new museum in Harlem)