Two Touches Virginia Cohn Parkum, c. Unknown In Two Touches, Virginia Cohn Parkum distills visual language to an austere minimum, presenting a field of luminous green interrupted only by two slender vertical gestures of yellow and a muted, grounded form near the lower edge. At first glance the composition appears nearly empty, yet the work reveals itself through restraint: presence is defined not by what is rendered, but by what is withheld. The two yellow marks unequal in length and intensity hover in quiet relation. They neither intersect nor fully separate; instead, they suggest proximity, communication, or the possibility of contact. The title invites interpretation through the language of touch: these strokes may signify moments of encounter, fleeting connections, or the delicate threshold between isolation and communion. Their verticality evokes presence, standing forms, or even spiritual signals descending into the field of perception. The expansive green ground functions not as background but as atmosphere. Its soft tonal variations and visible brushwork create a space that feels contemplative and open, recalling the calm of a meditative field or the stillness of an interior emotional landscape. Within Parkum’s broader practice this chromatic quiet suggests equilibrium rather than tension. The painting becomes a space of pause, an interval between experiences rather than the experiences themselves. Near the bottom edge, a darker, horizontal passage anchors the composition, introducing weight and grounding the otherwise suspended gestures. This subtle base may be read as earth, horizon, or embodied reality — the material condition against which moments of connection briefly appear and disappear. Parkum’s minimal vocabulary here aligns with her recurring spiritual concerns. By reducing form to essential gestures, she emphasizes awareness over representation. The painting does not narrate; it invites attention. The viewer becomes acutely aware of distance, presence, and the fragile nature of contact — themes that resonate with Buddhist notions of interconnection and the fleeting nature of encounter. Two Touches stands as a meditation on relationship in its most elemental form. It suggests that connection need not be dramatic to be profound; even the lightest contact can alter the field of experience. In its quiet restraint, the work offers a contemplative space where absence and presence coexist, and where meaning emerges from the subtle tension between solitude and touch. -Jonathan Flike