John Armleder's work is filled with references that elude the modernist vernacular as well as any form of classification. For this belt, he drew inspiration from his “supermarket of shapes” and brought into life a visual identity that he had deeply rooted in his mind and memory. Throughout his forty-five-year career, he has produced pieces that could be seen as supremacist paintings, minimalist sculptures, high-design furnishings or any other easily categorized objects. As he explored various genres, he simultaneously tackled social economic and aesthetic issues. John decided to use the brain shape as it's a complex form, which once drawn doesn't express anything; it could refer to a walnut or make one think of an abstract drawing. Throughout his playful compositions, the objects that are presented are often completely dissociated from any formal artistic concerns. He purposefully blurs the traditional lines between support and surface, subject and object, and high and low art. He also challenges the traditional pattern in which the viewer comes as a spectator of modern or contemporary art to admire and experience the piece in a set atmosphere for its display.

John Armleder's work is filled with references that elude the modernist vernacular as well as any form of classification. For this belt, he drew inspiration from his “supermarket of shapes” and brought into life a visual identity that he had deeply rooted in his mind and memory. Throughout his forty-five-year career, he has produced pieces that could be seen as supremacist paintings, minimalist sculptures, high-design furnishings or any other easily categorized objects. As he explored various genres, he simultaneously tackled social economic and aesthetic issues. John decided to use the brain shape as it's a complex form, which once drawn doesn't express anything; it could refer to a walnut or make one think of an abstract drawing. Throughout his playful compositions, the objects that are presented are often completely dissociated from any formal artistic concerns. He purposefully blurs the traditional lines between support and surface, subject and object, and high and low art. He also challenges the traditional pattern in which the viewer comes as a spectator of modern or contemporary art to admire and experience the piece in a set atmosphere for its display.