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Symbols and Symmetries,
Charcoal and oil on linen, 90 x 240 x 32 inches Symbols and Symmetries’ origin is directly related to geometric forms which denote aspects of visualizing issues within the Life Sciences. Here, I have integrated the hexagon and pentagon, which are symbols utilized by scientists to identify cell structures. Accompanying that is the repetitive arching form; acting as a unifying lyrical, linear element and emblematic of the dynamic notion of chance, change and the ever-present and potent biological and human act of creativity. The three-dimensional form of the painting structure coupled with the symmetrical composition relate to scientific cloning and the notion of the Rorschach ink fold as an implied physical act of cloning; ushering the artwork metaphorically into a dynamic flex or fold which seems to slightly compress and expand as one moves past the piece. Through these processes, I have attempted to create an artwork, which speaks directly to this site. Not only in the physical characteristics of the piece, but also in the desire to become one with its environment and to function in harmony with its inhabitants; with the additional goal of not only one of beauty, but also one of wonder. Exposing the viewer to the fundamental human inventions of mathematics and more specifically, geometry, as a vehicle and metaphor which enables us to better understand the mysteries, complexities and splendor of our magnificent ever-changing and dynamic, natural world. |
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“Applied Abstractions,” LewAllen Galleries,
Sant Fa, NM. August 26, 2022 – September 24, 2022 |
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Yellow Quartz, 2022, oil and charcoal on linen,
58 x 156 x 8 inches. (four-part, folded painting) |
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Installation View of “A State of Being” “HE GONG & MARK POMILIO AT MCA MUSUEM,” Grant Vetter, Java Magazine, March 4, 2020 https://javamagaz.com/?p=6859 |
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Bentley Galley Symmetries exhibition
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Carbon Blue, 2015 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.
Installation View: "Form + Function: Mathematics
in Contemporary Art,"
“Le Cercle de Famille”/ “Family Circle”
Site Location: Clinton Public Library, Clinton, Michigan
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 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, as seen in the studio prior to installation in the University of Michigan School of Social Work.
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