Mark Pomilio’s current research has focused on creating images, which embody principles of geometry, fractals, cloning and single-cell manipulation. These interests have led to invitations to lecture nationally, on topics as diverse as art and mathematics and the role the visual arts can play, in understanding the social ramifications of advances in the Life Sciences. His artwork has been featured in solo museum and gallery exhibitions nationally and internationally, including Luxehill Museum in Chengdu, China, Xu Beihong Art Academy, Renmin University of China, in Beijing, the Chapelle Saint-Louis de la Salapetriere, in Paris, France, Art Resources Transfer, in New York City, LewAllen Galleries, Santa Fe and Bentley Gallery, Phoenix.

Originally from Philadelphia, Mr. Pomilio is currently living and working in Phoenix, Arizona. Where he is a Professor of Painting and Drawing within the School of Art, at Arizona State University’s Herberger Institute for Design and the Arts.

My artistic interests are fueled by a desire to create artwork, which mirrors naturally occurring systems in our world. In “mirror” I am referring more to ideas regarding physical processes rather than mimetic duplication. I find inspiration on a myopic level by attempting to imitate cell repetition and cloning. I have chosen to create imagery, which expresses a developmental process rather than an overt visual depiction. The origin of this research has been formulated through a series of simple geometrical equations. These equations have yielded a group of “parent” rudimentary geometrical forms. One or several of these forms are multiplied and folded equally throughout the pictorial field. Through this process, a formal pictorial structure is born. Therefore, each image has evolved through the development of pictorial representations of geometric systems of growth. This “parent” form is representative and meant to emulate a single or multiple cells dividing and compounding into a complex organism. In many works, formal decisions are multiplied equally throughout the field, causing a type of visual unity. This balance and symmetry has a visual equivalency in how we read the meditative qualities of a reflective pool, or a religious icon. In the end, my goal is to force a harmony upon the image field that, in turn, forces a potential meaning through the integration of the image and title