This Punk is inspired by CryptoPunk #8293 and the work of Helen Beatrice Saunders. English avant-garde artist, graphic illustrator, closely associated with the British vorticism movement. Together with Jessica Dismorr, she made up the "female" part of a group of 11 artists who signed the Vorticist Manifesto. Helen Saunders published her artwork, as well as poetry and prose in the magazine "BLAST". As a representative of early British abstractionism, she became one of the first authors in the country working in a style very close to non — figurative, and reached certain heights in this, developing a personal language in line with the ideas of first post-impressionism, and then "vorticism".

The inspiration for the SupremePunk was the painting by Helena Saunders "Abstract Multicolored Design". According to the artist's sister, this composition, like the "Monochrome Abstract Design", was created in the same days when Helen Saunders, together with W. Lewis, painted the walls of the restaurant de la Tour Eiffel. Stylistically, these works are closely related to the works of other vorticist authors, which were published in the first issue of the magazine "BLAST". However, it is the Saunders painting that is distinguished by rich color solutions, sharpness of composition. The artist does not lose the confidence of the lines and her inner logic of the image, in which one can see figurativeness.

SupremePunk is based on the figurativeness of Saunders' paintings. The overall composition of the work at first glance is quite simple, but at the same time thoughtful and accurate. Like Saunders' works, the center of the composition is actively highlighted in the painting, the yellow lines converge to one point, forming a visual center of attraction. The color palette of the painting is quite calm and balanced, which makes the work more attractive to the viewer. As in Saunders' works, the color planes in the painting seem to hover and interact with each other, creating a sense of planning and volume.

The central and main part of the painting is painted in pure white. Helena Saunders used a similar technique in her work "Gulliver in the Land of Midgets". The painting, exhibited in New York at the Vorticists' vernissage in 1917, has long been incorrectly identified as a "Dance" (such a work, written around the same time, is available in the Chicago gallery). The original name is associated with the scale of the depicted actively gesticulating small figures and a giant background figure. Three little men are depicted very conventionally with the help of white lines and geometric elements of irregular shapes. The background for their jumps is the profile of the giant's face, written in a rather bright yellow color with a guessed designation of the eye, nose, ear.

The white color symbolizes the calmness and honesty of the image of the painting. Artists of the 20th century often used the association of color to convey an emotional mood. One such example is the painting by Edward Alexander Wadsworth "Dux et comes". Wadsworth began to introduce abstract forms into his marine still lifes by the late 1920s. The painting belongs to a series called "Dux et Comes" — a musical term used to describe choral roles in a fugue, and translates from Latin as "leader and companion". The leader (soprano) has one sound, and the companion (alto) echoes. The artist's works from this series explore human relationships and moods. Two amorphous and soft figures floating above the blue look like clouds, while they cast shadows of different colors.

The artist of the SupremePunk creates an interesting and peaceful image in his work, consisting of simple color planes. The painting shows the importance of one's own feelings and attitude, as well as comprehensive peace and harmony with one's Self.