Defending the supremacy of figurative painting over the painting of imitating nature, Kazimir Malevich (1879-1935) introduced in 1913, a new concept that has designated as "Suprematism", in which considered to be essential the geometric abstraction based on pure non-objectivity, assuming the artist the primacy of pure plastic sensitivity, above all the materialistic purpose. In 1915, Malevich exhibited thirty-nine tables in St. Petersburg, then Petrograd, the capital of Russia; on the works exhibited predominated the squares and rectangles, lines and circles, and the cross; using a reduced color palette, always saturated, assumed a representation not objective, naking paintings of any meaning, arguing that "the reality in art is the sensory effect of color", thus reaching "the absolute superiority of sheer excitement". However, only in 1925, Malevich did the systematization of theoretical "Suprematism", through the manifest "The Cubism Futurism to Suprematism: the New Realism in Painting", written in collaboration with the poet Maiakóvski (1893-1930).
In 1919, El Lissitzky (1890-1941) integrates the suprematist concept, having developed the projects designated by "PROUN", which he described as "a station halfway between painting and architecture", a form of art in which constructions was mounted on the surfaces of the walls, with the essential aim of the liberation of art of any interpretation of emotional reality, through the development of a new abstract language, based on related items, internal structures, energies and spatial tensions.
After about a hundred years, the proposal submitted by Alberto Simões de Almeida relives the suprematist concept, playing with the geometric elementary elements and with the precariousness of colors, almost always flat; it is a reminder, now approaching, however far away, procedures which motivated that concept. The point of departure were the drawings of El Lissitzky, reinterpreting them, resizing them to three dimensions, searching for the abstraction away from referents, trying to annul meanings, although be inevitable that any observer can make their own mental approximations to reality.
The sculptures of Alberto Simões de Almeida are asymmetric structures, in which the presence of escape lines introduces a dynamic feeling, sometimes very explicit. The use of geometric shapes and pure absolute characteristics of "Suprematism" (circle, square, rectangle, triangle and cross), conjugated independently or combined, added the ellipse, more elaborated form geometrically speaking. Although the color palette used is reduced, the white and the black integrate almost all jobs, with predominance of black in plan-base of the wall sculptures.