Some recent paintings by John Pomara:
Titles are, top to bottom, Luv Connection, Corporate File, Digital Dating, Double Dating, Jailhouse Rock, and Jetsons (all oil enamel on aluminum). Earlier posts on Pomara's work, expaining a bit about the process are here and here. The current, stylish group handles digital content in a thoughtful, oblique way. These appear to have architectural subjects, but it's wholly invented or aleatoric architecture--emerging out of the process of deforming imagery at the pixel level. What look like "wrecked scans" a la Karl Klomp's "glitch video" work are just a starting point--the logic of messy revision and chance is continued into the painting realm, which is already very much about significant accidents, since the AbEx days. Pomara also makes photos and ink jet works in this vein, and there is much back and forth among media in his studio process.
Update: Some links to writing on Pomara in Houston's GlassTire online magazine weren't working in my April 2001 post but those pieces have now been located: Bill Davenport's review and my reply. The reply is unfortunately captioned "Responses to Tire Iron #6 by Jeff Dalton" but my name is in there somewhere.
Update: The text of Davenport's review and my reply are here.
Update, May 5, 2009: Those links were broken again. I'm linking to the barely formatted "print" pages as there is no way to permalink the articles. Get it together, Glasstire! Oh well, at least the writing hasn't disappeared completely. Rather amazing after 8 years on the web.
Nothing special to say other than that those are beautiful.
Haunting, in an Oddesey/Atari kind of way.
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Some recent paintings by John Pomara:
Titles are, top to bottom, Luv Connection, Corporate File, Digital Dating, Double Dating, Jailhouse Rock, and Jetsons (all oil enamel on aluminum). Earlier posts on Pomara's work, expaining a bit about the process are here and here. The current, stylish group handles digital content in a thoughtful, oblique way. These appear to have architectural subjects, but it's wholly invented or aleatoric architecture--emerging out of the process of deforming imagery at the pixel level. What look like "wrecked scans" a la Karl Klomp's "glitch video" work are just a starting point--the logic of messy revision and chance is continued into the painting realm, which is already very much about significant accidents, since the AbEx days. Pomara also makes photos and ink jet works in this vein, and there is much back and forth among media in his studio process.
Update: Some links to writing on Pomara in Houston's GlassTire online magazine weren't working in my April 2001 post but those pieces have now been located: Bill Davenport's review and my reply. The reply is unfortunately captioned "Responses to Tire Iron #6 by Jeff Dalton" but my name is in there somewhere.
Update: The text of Davenport's review and my reply are here.
Update, May 5, 2009: Those links were broken again. I'm linking to the barely formatted "print" pages as there is no way to permalink the articles. Get it together, Glasstire! Oh well, at least the writing hasn't disappeared completely. Rather amazing after 8 years on the web.
- tom moody 12-23-2006 4:19 am
Nothing special to say other than that those are beautiful.
Haunting, in an Oddesey/Atari kind of way.
- j in jc (guest) 12-23-2006 9:14 pm