Carbon Blue, 2015
Oil and Charcoal on Linen
90 x 180 x 36 inches

This work was commission by The University of Michigan School of Engineering, Ann Arbor, MI and has been installed in the Center of Excellence in Nano Mechanical Science and Engineering.

Carbon Blue is a visual articulation of single geometrical cell structures working in unison to create a complex network of matter developing in space. The artist equates this idea to visual mirroring of the natural and synthetic developmental processes of growth patterns in nature. For Carbon Blue, Pomilio developed a geometrical form similar to a pyramid in space. This form emulates the scientific representation of a carbon molecule and is a direct reference to aspects of nanotechnology, which relies heavily on carbon. Here, he has coupled the carbon pyramid with the hexagon and pentagon, which are traditional symbols used in scientific molecular visualization. The three geometric forms have shared properties and once multiplied and folded throughout the pictorial space, they begin to evolve into a complex form not conceivable from their inherent individuality. These “parent” forms are meant to represent and emulate a simple series of molecules dividing and compounding into a complex, not previously conceivable, form or organism. The three-part folding structure is the Artist’s attempt to animate the image through spacial compression, which occurs when viewing the work from oblique angles. This piece was created through the transparent overlapping of only two other colors and white. The colors symbolize our amazing planet of earth, water and sky.

 

Installation Views: "Natural Order," Jan. 2013, Bentley Gallery, Phoenix, AZ.
(photo credit Robert Evans Jr.)

 

Installation View: "Form + Function: Mathematics in Contemporary Art,"
Sept. 2006-Jan. 2007, Noyes Museum, Oceanville, New Jersey. (This exhibition
was curated by A.M. Weaver and featured the work of Sol LeWitt, John Simms,
Steven Gwom and myself.)

 

“Le Cercle de Famille”/ “Family Circle”
Chapelle St. Louis de la Pitie-Salpetriere,
Paris, France, May 2005.

 

Site Location: Clinton Public Library, Clinton, Michigan
Fall Festival, 2002
Aquacryl and Charcoal on Wall Board
40 x 10 feet

Clinton Public Library

In this secco fresco, good government manifests itself through the formal pictorial structural development, of order and unity and in spirit, making reference to the tricento Sienese fresco, masterpiece entitled, Allegory of Good Government, by Ambrogio Lorenzetti. In the Clinton Project, the image is comprised of a complexity and busyness in composition indicative of a village environment, which is alive, vital and bustling. The structural linear elements are unified and give specific relevance to the community, through the shape of a bell. The bell form is emblematic of both the celebration of a thriving village as well as, symbolizing the Clinton Belle. The image attempts to cast the bell form into a rhythmical sway from side to side, as if being rung in celebratory form. In this fresco, we have the lyrical integration of good government, unified with civic pride; two concerns which represent Clinton Township and Village, from their conception, through to the present day.

 

Vox Populi, 1999
Aquacryl and Charcoal on Canvas
Three panels: Total measurements: 6’, 8” x 25’, 9” x 2”

Site Location: North, West & South Interior Walls of the Main Entrance Stairwell, University of Michigan School of Social Work, Ann Arbor, MI.

Vox Populi employs a curvilinear matrix of varied line weights that weave and undulate through a nondescript atmospheric space. These meandering arcs were originally based on a geometrical equation that began with one singular point, from which grew all other points, both linear and curvilinear. The singularity of the individual line must maintain inner harmony, as well as, communal balance and serenity within the totality of the whole. In many ways, this mirrors our own inner struggle to preserve personal anonymity while functioning as a viable social being contributing to the community’s identity. It is this inextricable dichotomy with one’s private and public self that is at the essence of Vox Populi, which in title refers to the venerable Latin phrase for “the people’s voice”.

Vox Populi Vox Populi

Vox Populi

Vox Populi

Vox Populi

Vox Populi, as seen in the studio prior to installation in the University of Michigan School of Social Work.