Everywhere there is craft and technique everywhere there is artistry and form. Art itself, technique, is ponderous and clumsy, and because of its awkwardness it obstructs that inner element.

For the Suprematist, the proper means is the one that provides the fullest expression of pure feeling and ignores the habitually accepted object. The object in itself is meaningless to him, and the ideas of the conscious mind are worthless.

I have broken the blue boundary of color limits, come out into the white beside me comrade-pilots swim in this infinity.

Color is the essence of painting, which the subject always killed.

A face painted in a picture gives a pitiful parody of life. . . but a painted surface lives.

The square is not a subconscious form. It is the creation of intuitive reason. The face of the new art. The square is a living, regal infant. The first step of pure creation in art.

I recommend that you should work actively... and study the artistic structures of Rubens, Rembrandt, Titian, Watteau, Poussin, and other painters, even Chardin, where he is an artist. Study very closely their dabbing manner of execution and try to copy a small piece of canvas, just one square inch.

I have established the semaphore of Suprematism. I have beaten the lining of the colored sky, torn it away and in the sack that formed itself, I have put color and knotted it. Swim! The free white sea, infinity, lies before you.

By suprematism I mean the supremacy of pure feeling in creative art.

In art there is a need for truth, not sincerity.

I regard photography and film simply as new technical means which painters must absolutely make use of, just as from time out of mind they have made use of brush, charcoal and color. It is certain, however, that photography and film must become as evocative for the sensibility as pencil, charcoal and brush. (1927)

Only when the habit of one's consciousness to see in paintings bits of nature, madonnas and shameless nudes... has disappeared, shall we see a pure painting composition.

I transformed myself in the zero of form and emerged from nothing to creation, that is, to Suprematism, to the new realism in painting - to non-objective creation.

The square = feeling, the white field = the void beyond this feeling.

Man's skull represents the same infinity for the movement of conceptions. It is equal to the universe, for in it is contained all that sees in it.

When, in 1913, in a desperate attempt to rid art of the ballast of objectivity, I took refuge in the form of the square... the critics... sighed, All that we loved has been lost. We are in a desert... But the desert is filled with the spirit of non-objective feeling.

Shouldn't it give us pause that the oldest works of art are as impressive today in their beauty and spontaneity as they were many thousands of years ago?