work, “I have chosen to create imagery that expresses a developmental process
rather than an overt visual depiction.” Consider the traditional still-life
painting. Simply defined, it is an attempt to duplicate an object, as it exists
in reality. The work will always possess individual nuance but is fundamentally
a pure depiction. Viewing Pomilio’s work Cloned Cell Study XIX
sense a kinetic process, a representation of the means rather than the end. His
paintings experiment with the processes of organic reproduction and growth,
expressing what Pomilio calls, “the internal mechanics of nature” through the
mathematical language we’ve created to describe it.
When Pomilio begins a piece, he doesn’t know
where it will go. While it is true experimentation that is often part of the
artistic process, Pomilio’s work would seem the exception. It is highly
geometric, consisting entirely of basic shapes, and he employs tools of
precision like a straightedge and compass. The unknown in his work is the use
of these shapes to mimic organic systems of growth. He repeats and compounds
basic forms over and over in a delimited spatial field, connecting, layering,
and shading within, mirroring patterns in nature.
stated in his text Considering
the Spiritual in Art
, “The artist must have something to say, for mastery
over form is not his goal but rather the adapting of form to its inner
meaning.” There is something transcendent in Pomilio’s rendering of forms.
Looking into one of the works from the “Cloned Cell Study” or “Fractal Dance”
series, you don’t see mere shapes. There’s a feeling of staring into a deep
realm, not unlike the visual awe of standing between two mirrors and observing
the never-ending reflection of yourself in the glass. Pomilio’s artistic
exploration of scientific and mathematical ideas engages the viewer in a way
that scientific data cannot.
–– Makiko Wholey