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

When, in the year 1913, in my desperate attempt to free art from the ballast of objectivity, I took refuge in the square form and exhibited a picture which consisted of nothing more than a black square on a white field, the critics and, along with them, the public sighed: 'Everything which we loved is lost. We are in a desert .... Before us is nothing but a black square on a white background!'

Painters were also attorneys, happy storytellers of anecdote, psychologists, botanists, zoologists, archaeologists, engineers, but there were no creative painters.

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

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

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 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)