1,10: A Supercentenary of Malevich’s Suprematism

One hundred and ten years ago, the Last Futurist Exhibition of Paintings 0,10 opened in Saint Petersburg, introducing Kazimir Malevich’s first non-objective works named Suprematism—his radical vision of “pure artistic feeling” beyond representation. The show’s enigmatic title, 0,10, signified both a new beginning and the ten artists initially meant to participate (fourteen ultimately did). Among its most striking moments was Black Square, hung in the upper corner like a Russian ikon, declaring a new spiritual frontier for modern art.

New Zealand-born, Las Vegas–based artist Matthew Couper first encountered Malevich’s work in 1998 and was captivated by its tactile imperfections and spiritual intensity. Over two decades, he has reinterpreted Malevich’s Suprematist language across media—from text-based works to sculptural constructions. In 2014, on the cusp of Suprematism’s centenary, Couper began transforming Malevich’s flat geometries into volumetric wooden forms, a series he titled 100 Rings, referencing the growth rings of a tree as a metaphor for time and influence.

In his current project, Couper is recreating all 687 of Malevich’s Suprematist works using woodgrain, oil paint, and nails—completing over 140 to date. 1,10: A Supercentenary of Malevich’s Suprematism marks the 110th anniversary of the original exhibition, following recent presentations in New York, New Zealand and Australia.

Presented in Las Vegas, this new body of work juxtaposes early modernist utopian ideals with the city’s hyperreal spectacle. By reimagining Suprematism amid neon excess, Couper questions whether abstraction still offers a spiritual language in today’s image-saturated culture.

All works are available for purchase. To make an appointment or request a catalog, please contact CouperRuss at contact@couperruss.com or 702-468-8499

This exhibition is supported by the National Endowment for the Arts and the Nevada Arts Council.