Joan Miró's artistic journey in the 1930s is marked by his departure from the constraints of any particular art movement, leading to a decade of intense experimentation and the development of a distinctly unique style. During this period, Miró's work is characterized by a blend of surrealism and personal innovation, making substantial contributions to the landscape of modern art. By the end of the 1920s, Miró had grown increasingly frustrated with André Breton’s rigid constraints for the Surrealist group, prompting him to seek creative freedom beyond the confines of any movement or "ism." This desire for artistic liberation fueled his experimental drive throughout the 1930s. Miró engaged with a variety of media, including small-scale sculptural objects, collages, and works on paper, often employing unconventional methods and materials. For instance, his Collage Painting of 1934 utilized found materials like sandpaper, mirror fragments, and thread, offering a pointed critique of traditional painting's refined conventions​ (The Metropolitan Museum of Art)​. During this era, Miró's work often engaged with the political turmoil of the time, although he never considered his art to be abstract. He produced socially engaged works, such as "Aidez l'Espagne" ("Help Spain") in 1937, a design for a stamp that supported the Republican government in Spain, and a pastel drawing titled Woman of 1934, depicting a monstrous female figure in anguish, possibly as a response to the political landscape in Spain​ (The Metropolitan Museum of Art)​. The 1930s saw Miró’s style becoming more expressionistic, a notable characteristic in his works from this period. Among his notable projects were the so-called Wild Paintings (1934–38), a series of paintings on sandpaper, collages, and small paintings on copper, such as Man and Woman in front of a Pile of Excrement (1935). These works often displayed monstrous figures in ambiguous, unsettling settings, likely reflecting Miró's concerns about the political unrest leading to the Spanish Civil War and World War II. This period was significant for Miró’s innovation in painting techniques and materials, anticipating the Action Painting of the New York School​ (ArtDaily)​. Throughout the 1930s, Miró continued to reject traditional painting methods as a means of supporting bourgeois society, advocating for an "assassination of painting" to disrupt established visual elements. This reflected not only his desire to innovate artistically but also to express contempt for conventional methodologies that he believed upheld societal norms he opposed​ (Wikipedia)​. Joan Miró's work in the 1930s is a testament to his relentless pursuit of creative freedom, experimentation with materials and form, and engagement with the socio-political issues of his time. This period laid the groundwork for his later contributions to modern art, solidifying his legacy as a pioneering figure who defied categorization and continuously sought to reinvent his artistic expression.