2–3 × 2–3 sheared planes in red, blue, yellow, and black on a paper ground, framed by a hand-drawn border. A tribute to Suprematist composition.
For fashion houses, textile studios and surface designers. Each composition is generated from a numeric seed and can be licensed, adapted or commissioned to your brief.
A grid of flat planes becomes a stage with its own gravity.
I am an Iranian-born artist working at the intersection of geometric abstraction and generative systems. My work begins with a simple observation: the composed plane — flat, self-contained, infinitely variable in arrangement — has always been a form of computation, long before computers.
Deconstructed Stage renders a 2–3 × 2–3 grid of sheared quadrilaterals in a Suprematist palette of red, blue, yellow, and black. Each plane is offset by a random shear in one of two directions, so the grid reads as tilted, floating, or about to fall. Some cells are empty (about 15%), producing rhythm and breathing room inside the composition.
A heavy border frames the composition on all sides, and a paper-toned ground holds the planes in place. The result sits between Suprematist painting and Constructivist poster. Each piece is defined by a numeric seed and can be regenerated, documented, and adapted for print, textile, and surface applications.
The same seed, presented as an archival print — and applied across fabric, scarf, textile and wall surfaces without loss of structure.
Every surface below is drawn from the same numeric seed — its repeat, orientation and scale adapted to the material, while the underlying structural logic remains identical.
The palette is fixed — red, blue, yellow, black — drawn from the Suprematist vocabulary of Kazimir Malevich. Every plane picks its colour at random from these four, so each composition reads as a chord of the same four notes, arranged in a different rhythm.
Each plane is drawn as a quadrilateral whose bottom edge is shifted by a random offset in one of two directions. The offset is between 18% and 30% of the cell size, so every plane leans noticeably, but never so far that it escapes its cell or collides with a neighbour.
A heavy black border frames the composition at 4% inset from each edge, drawn at 0.6% of canvas for weight. A paper-toned ground sits behind the planes, and every plane has a thin black outline that keeps its edges crisp against the paper.
Deconstructed Stage is a generative design system rather than a single artwork. Its geometric-abstract language can be adapted for fashion, textile development and other surface-oriented contexts — while maintaining a computational origin.
Each surface is drawn from the same numeric seed — reproducible, licensable, adaptable to your brief.