This Punk is inspired by Geliy Korzhev’s art and by CryptoPunk #4464. Geliy Korzhev is one of the brightest representatives of the "harsh style", he portrayed reality without embellishment, exposing the mental and physical wounds of people. The most poignant work of Geli Korzhev is the triptych "Scorched by the fire of war", which depicts three portraits of victims of the Great Patriotic War: a portrait of a crippled soldier ("Traces of war"), a grieving woman ("Mother") and a person trying to return to a normal, pre-war life ("Street Singer"). In size, these paintings are comparable to the ceremonial portraits of the XVIII-XIX centuries, but instead of the figure of a famous person in full growth, the viewer sees the faces of strangers with a void behind their backs. These canvases cause the inevitable aching pain at the sight of people whose fate was so difficult that they stopped trying to show suffering, becoming hostages of eternal silent grief. SupremePunk resembles a victim of war, abandoned to the mercy of fate after all the suffering suffered for the good of the Motherland.

If you pay attention to the technique of performing this Punk, then there may be an association with the works of the modern artist Tony Reason, who paints with rust mixed with wax, creating post-apocalyptic canvases. But in the case of this picture, everything turns out quite the opposite: the selection of the right shades creates the impression of rusty metal, which is actually paint. This helps to give the picture volume, delineating the background of black lines and two plates that seem to lie on the surface of the image.

An important compositional element of SupremePunk is the aforementioned black lines, which set a tense tone to the work and make the available space more cramped. At the same time, these elements create a neat and distinguishable pattern. This is reminiscent of the works of KennethNoland, one of the representatives of the painting of rigid contours, which is aimed at restoring harmony and order in the visual plane art. The ornaments on the background of this Punk create the desired order, contrasting with the scattered rusty objects from the foreground of the picture and contributing to the formation of balance in an initially chaotic space.

To create a full-fledged perception of this SupremePunk, it is also worth mentioning such a modern art activist as Susan Philiphsz, who is engaged in Sound art, in particular, working with broken old musical instruments or sound collectors. In her art, Susan uses the sounds of historical military fanfares, trumpets or broken loudspeakers, records a melody with them (for example, the "Last Post" - music used at military funerals, and ceremonies commemorating those who have lost their lives in war) and subsequently immerses visitors of the exhibition in the atmosphere of "dirty", unpleasant to the ear sounds.

The way the instruments that survived the war sound overwrought conveys the state of mind of those people who were forced to go through the horrors of war. They can no longer be "repaired", returned to their original state, they will live until the end of their days with the marks of those several years of suffering that seemed to last forever. Just as crippled as the instruments of Susan Philiphsz sound, this SupremePunk is represented, which is depicted as if it was thrown to the ground to get rid of, as from a "dead weight".