Abstract #318 1947

Myron Kozman made this abstract print, sometime around the middle of the last century, and I’m immediately drawn to how each color seems to sit just *so*. It's as if he were arranging a handful of translucent, matte-colored sweets on a white surface. You can almost feel the grain of the woodblock he used, like a fossil left in the paint, which I guess is what printmaking kinda is... a fossil of a mark. The way the colors overlap, creating new hues and textures, is a reminder that artmaking is about layering, both physically and conceptually. Take the yellow shape, which bleeds into a rusty red. Together they transform into a new thing entirely. Kozman's work is so visually different from the hard-edged geometry that was popular at the time, but it's interesting to think of this in relation to someone like Miro. Not in a directly referential way, but as part of a wider conversation about what abstraction could be. Ultimately, art is not about answers, but about embracing the beauty of ambiguity.