On The Edge Of The Pool II
Branka KodžomanBranka Kodžoman renders the quietude of a summer afternoon through soft, painterly strokes that prioritize feeling over fine detail. This piece centers on a solitary figure at the water's edge, finding a rare moment of stillness where the only movement is the implied turning of a page.

On The Edge Of The Pool II
Branka Kodžoman renders the quietude of a summer afternoon through soft, painterly strokes that prioritize feeling over fine detail. This piece centers on a solitary figure at the water's edge, finding a rare moment of stillness where the only movement is the implied turning of a page.
28 × 35 cm · about ⅙ the width of a 3-seat sofa
A meaningful share of this purchase goes directly to Branka Kodžoman.
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Art Analysis
From the artist, Branka Kodžoman
The Quiet Gravity of a Summer Afternoon
In this illustration, Kodžoman explores the concept of mindful escape through a minimal lens. The composition focuses on a woman resting by a pool, her form relaxed against the hard edge of the basin while a book sits nearby, suggesting a slow transition between literature and observation. The artist uses a gentle, diffused light to soften the scene, blurring the boundaries between the figure and the shimmering environment to evoke the hazy heat of July.
By stripping away unnecessary detail, the work emphasizes the emotional weight of solitude and the restorative power of a quiet environment. The portrait orientation draws the eye downward toward the water, grounding the viewer in the same reflective state as the subject. It is a study of presence, capturing that specific, fleeting interval where the world falls away and only the cool air and the rhythm of one's own breath remain.
The artwork captures a deliberate withdrawal from the world into a state of personal reflection and leisure.
The artwork utilizes a reduced visual language to emphasize the clarity of its fundamental forms.
Soft edges and a gentle application of color create an atmosphere of heat-induced lethargy and calm.
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