In 1913 Klyun created new type of artworks — collapsible constructions from wood, metal, glass and other different stuff, so-called sculpture-pictures or picto-reliefs. A good example of such sculpture is the artist’s Flying landscape (1913), where dynamic forms are rhythmically organized in compositional structure.

A lot of researchers noted that cubism by Klyun was more conventional then by Malevich. Cubism by Klyun is more aesthetic; his painting manner is full of freedom, play of light and shadow, irrational forms, colour lines and spots. Compositions by Klyun are always thoroughly constructed and well arranged. The main motifs of his paintings were household devices and the dishes (ozonizer, gramophone, jug). Alternation of round and rectangular forms, rhythm of transparent planes like rays creates sensation of logical harmony. In contrast to Malevich, who considered possibility of alogisms in cubism, Klyun found first of all logic in it.

After the revolution Klyun was engaged in organizational activities. In 1918 he worked in the Department of Fine Arts of National commissariat of education (Narkompros) and taught in the Higher State Artistic and Technical Workshops (VKhUTEMAS); in 1920–1922 he worked in the Institute of Art Culture (Inkhuk) and in the Russian Academy of Artistic Sciences (RAKhN). Klyun collaborated with the Society of Easel Artists (OST) and the society Four Arts.

At the same time Klyun created a lot of paintings and wrote theoretic articles. In 1918 Klyun quarrelled with K. S. Malevich and left suprematism, but he continued developing principles of non-figurative painting: picture as a pure art experiment but not a technical project.

Klyun together with A. V. Lentulov performed agitation design for the Theatre square Moscow. In 1923 he designed the book Word Texture. Declaration by A. E. Kruchenykh. In 1920s–1930s Klyun created a lot of works in the traditions of abstract art: Scarlet Overcolour (1919), Suprematism (1921), Work on the principles of light and colour (1925), Portrait of A. E. Kruchenykh (1926), Electrification (wood, metal, glass; 1926), Construction on the principle of movement (1933).

In the mid-1920s Klyun was almost the only representative of the Purism in Russian painting. His still life compositions were characterized by light and rhythmic constructions, straight geometric forms and lines, decorative silhouettes, without any ideological nuances or pretentious modernity.

However such still lifes (realistic and traditionally figurative) condemned Klyun to isolation in Soviet art at the end of 1930s. In 1938 Klyun was excluded from the All-Russian co-operative society Vsekokhudozhnik ("Artist"), and he had to earn his living by small orders (a series of drawings at the album Flaws of wood for the Forestry Institute).

There is very few works by Ivan Klyun in the museums and private collections, most of them are in different collections in Russia, Europe and America. The Klyun’s chamber avant-garde art shows the tragic way of abstract art in Russia in the first half of the 20th century.