Following the initial geometric-based investigations it was necessary to consult historical precedent before progressing further. Naturally, as for any geometric piece, roots can be found in Suprematism and the combination of geometric forms. Initiated in Russia, 1913 by Kazimir Malevich, Suprematism developed, nominally a combination of shape and often vibrant colours.1 A personal favourite is Suprema 2, completed in 1917 depicting a combination of rectilinear shapes against a circle and organic form.

Anon, n.d. Suprema 2. [electronic print] Available at: <> [Accessed 18th December 2011].

Work from the De Stijl movement can also be seen to inform the final piece. The strict geometric grid of Mondrian’s compositions are echoed in the strict grid utilised for development of the final image.

Anon, n.d. Piet Mondrian – Composition in Red, Yellow, Blue and Black. [electronic print] Available at: <> [Accessed 18th December 2011].

Further influence is taken from the Cubists, as with the below Braque example. The deciphering of the image necessary with these pieces is echoed in the work. It is not instantly recognisable as the harp and violin, however it is still there and legible with concentration.

Anon, n.d. Georges Braque – Still Life with Harp and Violin. [electronic print] Available at: <> [Accessed 18th December 2011].

Finally architectural precedent has influenced the final piece. Renzo Piano’s Pompidou Centre, with its strict construction grid and overlapping elements, following their route around the external of the building, framing the central core informs the final piece, with the surrounding elements of the letters.

Michiel, 2010. Pompidou Centre – Front. [electronic print] Available at: <> [Accessed 18th December 2011].

Anon, n.d. Pompidou Centre – Rear. [electronic print] Available at: <> [Accessed 18th December 2011].


1. Tate Collection, 2011. Suprematism. [online] Available at: <> [Accessed 18th December 2011].