This Punk is inspired by CryptoPunk #9078 and artworks of Malevich. The artwork is presented with a local coloring, exaggerated to the limit. The minimized number of colors, the absence of shades, the simplest forms - they form a face, on the one hand, directed to the right (dynamics appears due to the triangular shape of the head - several triangles overlap each other, and transparent alternate with filled with color), on the other hand, looking directly at the viewer (transparent eyes seem to be directed forward). Due to their transparency and diagonal arrangement, a feeling of naturalness and liveliness is created, which would seem almost impossible with such dry and harsh work with the simplest forms and the absence of chiaroscuro and in general any artistic techniques that bring the image closer to reality.

Punk resembles Joan Miro's illustrations, as if little men, animals, unreal creatures stopped on them, and all round shapes would acquire angular contours, and the dynamics from the external would become internal, enclosed in a figure. Punk is depicted being in a vacuum. It has no background, it is not connected to anything. He is by himself and this should be enough for his full perception.

Such motifs can be found in still lifes of the 17th century, which are called vanitas. They are still lifes designed to remind of the transience of life and the constancy of death. Often the central place in the composition of such works is occupied by the skull, obscuring all other objects.

Here, the inanimate face of a Punk, on which all the viewer's attention is involuntarily focused, literally a head on a platter (as in Caravaggio's painting "The Head of the Gorgon Medusa"), appears before us and enters into a dialogue with us. We observe it from an equal angle and equate ourselves with it. The effect of looking at a mirror is created, and at this moment comes an awareness similar to that which vanitas causes with the help of a skull – all living things are doomed to become inanimate. But here, unlike the paintings of the 17th century, a new awareness also comes, which gives rise to the futuristic essence of suprematism. Not only will all living things become inanimate, but all inanimate things can come to life. With his gaze, the viewe revives the Punk. After all, dialogue is an act between two subjects. And the moment it starts, they are aligned with each other.

In general, the uniqueness of the Punk collection lies precisely in the fact that the living (in this context, what resembles a person, even indirectly) is not achieved by naturalizing the form (softening contours, coloring in flesh color, etc.), but through the identification of naturalistic potential in exclusively geometric structures and its use. If this picture had been accidentally turned over in the gallery, then the face would have disintegrated, dissolved. It would be overshadowed by an array of shapes and colors. And this is the uniqueness of the approach to the image.