This Punk is inspired by CryptoPunk #4735 and artworks of Aurelie Nemours. SupremePunk #062 is a kind of the opposite of the idea of SupremePunk #032, that is, we tried to put into it the atmosphere and geometric forms of an anti-utopia city from the future. The most significant feature of this Punk - it is the only one of all SupremePunks that has clearly defined borders, a dense black line runs along the contour of the Punk. These days we hear more and more news about trade wars between countries, about closing borders, more and more ideas of isolationism and less and less talk about globalization and an open world for all. This trend pre-dates the Coronovirus, but it has only intensified with the emergence of the Coronovirus. The black line around Punk is a reflection of this trend. The black line is a closed border separating "insiders" from "outsiders", fulfilling a role similar to that of the Iron Curtain. That is, it will be impossible to get out of the city-antiutopia of the future, and communications between ordinary people from different countries will be minimized.

Nemours worked on the demeures (dwelling) series using pastel instead of oil paint, as it was easier to make changes that way. "Every morning I would erase the work done the day before". Like many works in the series, it seems that this painting began with a solid grid, which Nemours carefully erased, leaving numerous squares and intersecting lines untouched. It was this painting that led us to the idea of creating a dystopian city which, like Nemours work, obliterates all living things, creating space, but at the same time keeping it enclosed. Nemours' drawing recalls an archaeological reconstruction of the floor plan of an ancient palace - a real dwelling emerging from the spiritual dwelling of geometry.

Aurélie Nemours said: "The discovery of the spiritual value of the vertical forced me to abandon the alluring temptations of the diagonal... I switched to verticals and horizontals, forgetting about curves because they are too corporeal. Indeed, curved lines are more vivid and human (even the human body says it - it consists entirely of curves and geometric shapes), while verticals and horizontals are more "mechanical". The words of the author of the series of paintings that inspired us are reflected in the body of Punk. It is all made of vertical and horizontal lines arranged without any order. This means that cities will become more mechanical and robotic than human. The lines themselves refer to the infinite number of pipes, lines of communication, sewers that will fill the city-antiutopia and stick out everywhere. The clustered and chaotic arrangement of the lines demonstrates the chaotic development of the city of the future and its inconsideration for people, in terms of urbanism, the city will be a nightmare.

Punk's gray background is an endless field of asphalt that fills the entire city and its outskirts, i.e. urbanism will be sacrificed to technological development. If you consider Punk as a city of streets and houses depicted from above (as Aurélie Nemours did in her paintings), you can see how cramped the cities will become, the streets will be like narrow passages from point A to point B with no interest for the person passing through them. Punk 62 is done in a gloomy color scheme dominated by black and gray. This was done specifically to create the effect of "eternal" night in the city-antiutopia because the sun's rays will not be able to sufficiently fall on the streets and into people's apartments. But for the most part, the gloomy tones reflect the inner state of the residents trapped within the confines of their state and essentially deprived of their city. Actually a dystopian vision of the city is seen in Kowloon Walled City, Hong Kong