The work ‘Syrom’ (1956) comes from Vasarely's ‘Homage to Malevich’ period (1952-1958), celebrating the principles of geometric abstraction and its precursor Kazimir Malevich.

Also at the heart of his ‘Black-White’ cycle (1954-1960), the artist challenges our own perception with the geometry of ‘Syrom’, playing with contrasts and lighting effects, giving the impression that the composition moves or changes depending on the angle of view.
Through this juxtaposition of simple, organized forms and a compositional method that is both rigorous and poetic, Vasarely develops a refined visual language aimed for universality.
‘Syrom’ questions the viewer's ability to perceive and interpret the world, transforming the gaze into a dynamic experience, on the border between illusion and reality.
Technically and historically, the work is part of the post-war period, a time of experimentation linking art, science and technology.
Last, two variations of ‘Syrom’ are preserved at the Hirshhorn Museum in Washington DC (USA) and the National Gallery of Denmark in Copenhagen.