This Punk is inspired by CryptoPunk #9101 and artworks of Malevich. The composition consists only of rectangular shapes of different colors. The overall palette is limited, but there are color accents (red eye, yellow ear). Intersecting vertical lines-rays forming a grid, as if intersecting horizontally floating in space, create a sense of an architectonic framework. The massive and large shapes that are formed from rectangles can be compared with the "paper" architecture of the avant-garde architects of the 20th century.

Yakov Chernikhov in his numerous sketches with the help of simple geometric planes and local, bright colors depicted unimaginable architectural concepts that impress many viewers to this day. Chernikhov analyzes and describes architecture in detail, starting from the basics of composition and ending with the technical skills of an architect and the philosophy of architectural research. Chernikhov predicted that graphics will be the new international language of civilization. The artist has developed a universal method, a kind of "grammar" for creating not only architectural works, but also any types of graphic communication.

SupremePunk is a moment from the life of an objective infinite world. The artist, although he was freed from all images, ideas, representations caused by any real objects, but pursued the goal of showing a certain unity of the system of signs and harmony in the combination of colors of the palette. Many supremacists in their work tried to achieve the ideal of non-objective art. One of such thinkers was Ilya Chashnik.

Ilya Chashnik is a Russian artist of Jewish origin, one of the adherents of Kazimir Malevich's theory of suprematism. Having an analytical mindset, he was engaged in the philosophy and theory of painting. The artist defined non-objective painting "as the highest state of consciousness", "the culture of magnetic forces, dynamic excitement, rhythm". The composition, which belongs to the late period of Ilya Chashnik's career, is multicolored and multi-figured, it has both the philosophy of the cyclicity of being (the big red circle) and the dynamics expressed in the energetic striving of vertical elements. The structural elements of Punk seem to be strung on fishing lines and suspended in the air, creating a spatial structure, scenes that form a three-dimensional space. The artist manages to reflect on the plane of the picture the dialogue of forms, the dynamics of their interpenetration and intersection. The harmonious composition is created due to the interaction and collision of rectangular planes, symbolizing the ratio of the main energy principles existing in the world: centrifugal and centripetal forces.

The collision and transformation of planes can be observed on the canvases of the avant-garde artist Lyubov Popova in her period of painting "space-force constructions". She started creating them in 1921. This is a cycle of 10 works performed on primed plywood or paper. Everything was new in this cycle of works: the style, the structure of the works, the technique of the painting itself. Having replaced the canvas with a tree, L. Popova returns to the three-dimensional volume of works. In some places, the plywood surface protruding from under the paint brings the artwork closer to the subject as such and distances it from the pictorial and imitative nature of painting. This is the transitional stage of "Space-force constructions" on the way from the easel to the production art. Such a turn in creativity as a whole was characteristic of the constructivist artists of that time, who proclaimed the rejection of easel creativity and a reorientation to industrial art, decoration and design of everyday life.

It follows from the postulates of suprematism that an artist can reach the primary level – the decomposition of painting into "bricks" of its elements. At the same time, the practice of suprematism asserts the priority of two components — color and form, and the main goal is to put forward an exit to the pointlessness as a way to overcome Cubism.

It is these principles that the author interprets in the SuprimPunk, the elements of which partly interact whimsically, and partly remain self-sufficient.