Vincent Pomilio

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.


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.

Photo of Vincent Pomilio

Big Little Series

Medium Works

Large Works



In Local Living Color: Vince Pomilio’s Thornbush Grid

By Dave King Dec. 2013

Vincent Pomilio no doubt cleans up nicely, but in his New York City studio he’s the archetype of the painter at ease, answering the door in splattered painter’s pants and a white t-shirt that clearly doubles as a paint rag. On the day I visited, Pomilio was choosing paintings for a group exhibition called Melangenow on view at Carrie Haddad Gallery in Hudson, and a long wall that ran from his front door into a sunny cluttered studio was hung salon-margin: 5px 0px; padding: 0px 0px 10px 5px; font-family: Georgia, 'Times New Roman', Times, serif; color: rgb(51, 51, 51); font-size: 14px; line-height: 20px;">Pomilio, who also resides in Columbia County and paints in a backyard shed there, is solidly built, with dark hair and a darkish beard. As a young man he taught art in his native Philadelphia, then did graduate work in painting at Tyler and NYU, supporting his creative life by work as a sous-chef and a decorative painter and building sets for The Actors Studio. Pomilio’s earliest work was figurative, but the sole representational piece I saw at his studio was a pleasant self-portrait from his student days, which hung in the bathroom beneath a print of a Renaissance lady. He’s known now for a kind of patterned abstraction, so I asked how that shift had occurred, and he spoke of an epiphany at The MacDowell Colony twenty years ago. He’d been asked to participate in a group show using skeletal imagery, and the painting that resulted became key to his practice. It was “a Rosetta Stone type of painting,” Pomilio said, and the works that followed were “almost like weavings. Or pared down from that, with less nonobjective imagery happening.”

Pomilio’s current paintings are composed of irregular polygons of color, sometimes crisp at their edges, sometimes blurring together, the tone of one shape washing like a tide across the contours of the next. Often the borders stand up in tiny ridges, actual micro-wedges of impasto, and these common edges are where much of the tension lies. There, where the shapes abut, daubs of bright color will gather the way leaves gather in the corner of a porch or the way aerial photographs can seem to bunch up around random elements: a lone tree in a schoolyard or a shopping plaza tucked among patchwork farms. Indeed, it’s this question of viewpoint that interests me most about the work. Are his images inspired by the microscopic, by a magnified speck of rust or the wing of a moth? Or have we pulled far far back to view the earth from above?

Pomilio showed me a small neat panel he was considering for the Haddad show. Unlike many of his current paintings, this one was mostly black, but Pomilio has a knack for making black seem neutral, like asphalt or chalkboard, rather than dark in the emotional sense. Across a softly mottled field, green shapes peeked from behind slate-colored verticals, and again the artist’s standpoint was ambiguous. It felt equally reasonable to read the greens as platelets or beech leaves or fairways on a golf course—or indeed simply as brushstrokes.

“This is part of a series called Big-Little, in which I try to create a larger image on a smaller scale,” Pomilio said, adding that the series now runs to 75 works, all twelve by twelve inches. And though some of the paintings had grown “dense and complicated,” the project was an opportunity to get minimal. “Minimal for me, anyway.” Indeed, this new work seems less congested than the larger works Pomilio exhibited at Haddad in 2011 and at the Hudson Opera House in 2008. The current shapes are bigger and more angular, and perhaps as a result, the colors pop.

Pomilio placed two more paintings on either side of the first, and we stood back to look. They made a handsome group, the shapes spiky, the colors precise and elegantly electric. In one, orange and cerulean predominated, with drifts of a plum tone I thought of as shadowing and soft red veins across the broadest of the orange.

I asked how he made initial decisions, for example in choosing colors. Where did the spiky shapes come from, I wondered also, and as I struggled to describe how the cerulean met the orange I tried the word fencing, which Pomilio jumped on: “I’m intrigued by barbed wire shapes, fence shapes, trellis shapes…” Much starts with the grid, he remarked a bit ruefully: “It’s hard to get away from the grid in a square format. Especially for someone of my generation: the Almighty Grid!” He reached down meditatively to scratch Bruno’s ear, then said the grid was a tool for organizing ideas drawn from the broader world, but that the real work was done in breaking the grid down. He jumped up to rearrange the paintings again, then we stood back to look, and as we took in the new pattern Pomilio finished his thought. “Vines that grow organically and at the same time create systems that are repeated,” he murmured. “The thorns of rose bushes after the roses are gone. Nature is so perfect with this!”

1973 KutztownStateUniversity, Kutztown, PA, BFA - Painting
1976 New York University, NY, Graduate Studies - Painting
1976 TylerSchool of Art, Elkins Park, PA, Graduate Studies - Paint

2015 Paintings, Lemonade Stand Gallery, Key West, FL 2011 Paintings, Drawings, Prints - Trans-Luxe Gallery, New York, NY 2010 Paintings and Prints, Trans-Luxe Gallery, NY, NY
2008 Paintings and Drawings- Hudson Opera House, Hudson, NY
2004 Paintings - Van Brunt Gallery, New York, NY
2003 Paintings - Van Brunt Gallery, Beacon, NY
2000 Paintings - Pacifico Fine Art, New York, NY
1998 Paintings - Mad River Post, New York, NY
1996 Paintings - Lift Arts Center & Exhibition Space, New York, NY
1994 Paintings - Smith-Barney Executive Gallery, New York, NY
1993 "Views of Strada" - Works on Paper - Castel San Nicolo, Arrezzo, Italy SELECTED GROUP EXHIBITIONS 2015 "Color Theory", Carrie Haddad Gallery, Hudson, NY 2015 "40th Anniversary Exhibition" Hal Bromm Gallery, NY, NY 2014 "Insecure", Hal Bromm Gallery, NY, NY 2014 New York All Borough Show, Denise Bilbro Gallery, NY, NY 2013 "Melange" Carrie Haddad Gallery , Hudson NY 2011 20th Anniversary Exhibit - Carrie Haddad Gallery, HudsonNY 2009 Frolic - Carrie Haddad Gallery, Hudson NY
2007 Group Exhibition - New Hudson 3 Van Brunt Gallery, Beacon, NY
2006 Group Exhibition - Brik Gallery, Catskill, NY
2006 "If They Could See Us Now" - South Bay Gallery, Hudson, NY
2006 Group Exhibition - Van Brunt Gallery, Beacon, NY
2005 Group Exhibition - North Pointe Cultural Center/Kinderhook, NY
2005 Group Exhibition - ELLART Exchange Gallery/Simi Valley, CA
2005 "Pomilio & Pomilio" - North Pointe Cultural Center/Kinderhook, NY
2005 "Abstraction NOW!" Shelnutt Gallery. RPI/Troy, NY
2004 "Abstraction NOW!" Stageworks/Hudson, NY
2004 Group Exhibition - ADD Gallery, Hudson, NY
2004 Paintings - Van Brunt Gallery, Beacon, NY
2003 Group Exhibition - Richard Sena Gallery, Hudson, NY
2002 Works on Paper - Carrie Haddad Gallery, Hudson, NY
2002 Group Exhibition - Greene County Council on the Arts, Catskill, NY
2005 Group Exhibition - Waxlander Gallery, Santa Fe, NM
2001 Works on Paper - Pacifico Fine Art, New York, NY
2001 "Red Hot and Cool" - Pacifico Fine Art, New York, NY
2000 50th Anniversary Exhibition - Berkshire Art Association, Stockbridge. MA
2000 "Autopoiesis" - Self Organizing Systems in Art - Pacifico Fine Art, New York, NY
1999 New Jersey Center for Visual Arts - National Juried Exhibition Curated by Lisa Dennison, Solomon Guggenheim Museum, New York, NY
1998 Group Exhibition - Carrie Haddad Gallery, Hudson, NY
1998 Juried Painting Exhibition - Berkshire Museum - Pittsfield, MA Curated by Laura Hoptman, Museum of Modem Art, NY, NY
1997 Works on Paper - Berkshire Museum - Jerry Saltz, Curator
1995 "Spirit of America" - Four New York City Artists" - Works on Paper, Gallery Camue, Bad Durkheim, Dresden, Manheim, Germany
1995 Small Works Show - Atlantic Gallery, New York, NY
1993 Group Show -Barnard-Biderman Fine Art, New York, NY
1991 Group Show -Vincent Pomilio with Keith Haring, Stephen Lack, Gallery Nadeau, Philadelphia, PA
1990 Group Show- Still-Zinsel Gallery, New Orleans, LA
1986 Three Person Show- Soho Center for Visual Arts, New York, NY
1985 Group Show- Curated by Colin De Land, Vox Populi Gallery, New York, NY SELECTED BIBLIOGRAPHY
2008 The Hudson Valley 100, Inside Out: The Art Issue, July/August
2008 Abstract Revision, Kevin D. Murphy, Art New England, February/March
2006 ARTS Alive BRIK Gallery Presents: In/formed Color
2006 The Artful Mind In/formed Color at Brik Gallery
2005 Painting by Pomilio Cousins in Kinderhook, NY, The Paper, Hillsdale, NY.
2005 Sightings - Hudson River Art. Hudson, NY
2004 Abstraction Now! Shows classic modernism, The Independent, Hudson, NY
2003 Marking Space - Making Time, by Jeannette Fitz. The Artfulmind
2002 A Wide, Peaceful Sky, by Jason Flores-Williams. Pasatiempo, Santa Fe, NM LECTURES
2005 Northe Point Cultural Center, Kinderhook, NY
2005 The New York City Lesbian & Gay Community Services Center
2001 Santa Fe Art Institute, Santa Fe, NM.
1992 The PennsylvaniaAcademy of Fine Arts, Philadephia, PA AWARDS
2001 Santa Fe Art Institute, Residency Fellowship
2000 The Elizabeth Foundation for the Arts, Grant Recipient
1991 Milton & Sally Avery Fellow, Fellowship
1991 Change, Inc. Financial Assistance (Robert Rauschenburg)
1991 MacDowell Colony, Residency Fellowship
1988 Vermont Studio Colony, Residency Fellowship
1987 Artist Space, New York, Materials Fund Award COLLECTIONS
Vincent Pomilio's paintings, drawings and commissions are part of public and private collections
across the United States and abroad, including: Boston Consulting Group Time Warner Cable, New York, NY
Deloitte & Touche, Boston, MA
Lee Briant, NY, NY
Bethany Beardsley, Red Hook, NY
Law Offices of Hale and Dorr, Boston, MA
Stephen Kastenberg, Philadelphia, PA
Mr. & Mrs. Irwin Lainoff, Brooklyn, NY
Dr. Norman Posner, Hudson, NY
Caroline Yarnell, C
T Arlene Zallman, Arezzo, Italy
Colin De Land NY, NY
April Bernard, NY, NY
Charles Baker, Hudson, NY
Ann Kennison, Monterrey, CA
Dotson Rader, Quogue, NY
Bergen Dancenter, Bergenfield, NJ
Mr. & Mrs. Joseph Grotto, Westin, CT
James Bergen, NY, NY
Michael Bergen, NY, NY
David Goodman, NY, NY
Leara Kuffer and Rick Shaver, NY, NY
Daniel Fones, West Palm Beach, FL
Bruce Murphy, Rome, Italy
Joesph Coencas and Niall Kelly, Brooklyn, NY, NY
Alistair McRobbie and Arthur McGuire, NY, NY
Lynn Dreese Breslin, NY,NY
Henrietta Mantooth, NY, NY
Steven Jones, Vancouver, BC
Mr. & Mrs. Richard Weinstock, NY, NY
Daniel Lanning, NY, NY
John Hinckley, Burlington, VT
Mr. & Mrs. Daniel Hinckely, Switzerland
Sarah Hinckley, Seattle, WA
Walter Benson, Syracuse, NY
Mr. & Mrs. Christopher McPhadden, NY, NY
Greg Kintzee, Denver, CO
Wendi Kushner, Austin, TX
Laura M Boyd, Sharewood, IL
Scott James, NY, NY
Analysis Group, Boston, MA
Todd Green, NY, NY
James Levin and G. Leath Nunn. NY, NY
Nicholas Tamari, Geneva, Switzerland
Jeffrey Mass, NY, NY
Murdoch Design Group,Hamilton, Bermuda
Kevin Murphy, Maplewood, NJ
Lisa and David Bagley, Simi Valley, CA.
Tom and Joyce O'Halloran, West Lake Valley, CA
Joan Greenberg, Hudson, NY
Ronald DiMaggio, New York, NY
Jack Melnikov, New York, NY
Richard Sena, Hudson, NY
Barbara and Kenneth Cooke, Germantown, NY
Larry Horner, Putnam Valley, NY
Dr. Steven and Ilana Tennenbaum, Teaneck, NJ
Kenneth Stewart and Reggie Smith, Hudson, NY
Frank Lo Scalzo, New York, NY
Eric Kohler, New York, NY
Marc Gerstman, Albany, NY
Michele Tornabene, Summerland, CA
Norman and Melanie Mintz, Brooklyn, NY