Malevich's Suprematism movement focused on basic geometric shapes. His Supremus pieces were reduced geometric shapes that were stripped of meaning and did not refer to representation objects in an attempt to understand the "primacy of pure feeling in creative art". Because none of the pieces were meant to be representational of objects - or anything for that matter - his work can be interpreted as an exercise in composition. Through his numerous Supremus pieces, we can see his experimentation with different shapes, sizes, colors and, in my opinion, most importantly, the placement of those shapes. I cannot pinpoint a specific technique or direction that his pieces followed since they seemed to be more experimental than purposeful. Some pieces are vastly empty whereas other may be complex. In some instances, the shapes are defined closely and tightly in one space of the canvas whereas in others, the shapes are grouped far apart from one another.