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The Russian suprematist movement of the early 20th century offers an unique opportunity for a case study on translating two dimensional design into three dimensions.
By extruding the basic forms of the original compositions and adding a dynamic element, 2D composition is translated into a three dimensional object that guides viewers toward its original viewing angle.
The works of Malevich and his contemporaries exemplify planar composition yet would appear quite lifeless if simply spliced into 3D space without modification.
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