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Vincent Pomilio
Big Little 127 (Abstract Geometric Painting in Brown, Aqua, Red, & Yellow)

2019

$950

About

Abstract Geometric square mixed media painting on panel in colorful shades with aqua, yellow, pink, light green, and red on a background of brown with yellow highlights Big Little #127, 2019 12 x 12 x 1.5 inches acrylic, pigmented plaster, and wax on wood panel Sides of the panel are painted so no frame is required Signed, verso Vincent Pomilio is a master when it comes to color composition. His abstractions on canvas and panel come to life with the most brilliant, yet unexpected color combinations. This painting, entitled Big Little 127, was made with mixed media including colorful pigmented plaster and acrylic paint. Geometric shapes in bright shades of indigo, blue, yellow, pink, red, and aqua seem to float and converge in space on a background of brown that features a yellow highlight, drawing the viewer's eye further into the background. The surface is then burnished to reveal exciting colors in the layers underneath. The surface is smooth to the touch as each layer is burnished and polished with marble dust. The sides are painted so additional framing is optional. About the artist: Vincent Pomilio specializes in all painting media, canvas, paper and wooden panel. A visit to his studio in the bustling neighborhood of Manhattan’s Greenwich Village offers a unique insight into the artist’s process of his own art making. The right brain dominates here; skillful use of color, shape, line and scale are discovered via intuition, experimentation and quarter turns of the canvas. Pomilio has occupied this bohemian artist’s pad since his school days ended at New York University in 1978 and it is here that he continues to paint to this day. Abstractions of color explosions are harmoniously composed using a combination of acrylic, wax, pigmented plaster and marble dust to build up surfaces and introduce texture. “In the end, the challenge is to know when to stop,” says Pomilio. The result is a stunningly complex and layered composition of color that one could interpret as an aerial landscape view or motifs that resemble woven baskets. When it comes to abstractions, the artist rationalizes, “If you see it, it is there.” At one point in his career, Pomilio felt he was struggling to successfully produce small paintings using the scaled patterns that was common in his work. This prompted a new series - the Big-Little series – which encompasses a study of big images on a small scale. By introducing a degree of ‘minimalism’ he could explore color relationships while magnifying techniques used on larger canvases. The effect this project had on his work flow was one of renewed energy and confidence. He could complete a painting much quicker than with the larger canvases, allowing him to try various solutions and expel creative energy in a focused way. Earlier this year, he completed the 100th 12 x 12 inch painting in the series. Artist Statement: I primarily work in all painting media, on canvas, paper, or wooden panel. For the past ten years my work has been largely abstract, always using the Natural World as my guide. The image evolves through a series of layers, each one rubbed, sanded, or burnished with tools. The image then reveals itself and I intuitively know when to bring it to completion. Some of my work has a strong landscape feeling as in "Between The River and The Sky". I always encourage the viewer to find recognizable shapes and images in my work. "If you see it, it is there". Most of these paintings have an all-over feeling as if these self-organizing systems continue off the picture plane. One shape flows from another, and then another, until there is a pulsating energy of interacting elements. Worlds of refined, chaotic movement are animated by color. DESCRIPTION OF WORKS I usually start with an acrylic base and drawing tools, pencil, wax crayon, ink etc. I also use a Kolcaustico plaster with marble dust and pigments in layers. As it is drying I carve into it and paint into with pigment or waterbased paint and start to build up the surface. I do as much carving as painting. Nothing is collaged onto the painting unless I specify collage as part of the material. A lot of the shapes are created with tape and the material is trowelled onto the surface. After it is all said and done I rub a refined beeswax into it and burnish the surface to bring up all the detail and seal the surface. It acts as a glaze as well and makes it resistant to moisture. All materials are permanent.

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