Pool Party

Embracing the beauty of seemingly random imperfection, John Pomara approaches the occurrence of spontaneity in this series of paintings titled “Pool Party,” by attempting to remain discretely at a distance. He initially sets up a situation that becomes the catalyst for unlikely combinations of oil paint and other additives to react with one another. Pomara effectively creates a visual record of these elective affinities and their antithesis as the fluid properties of the paint repel or attract other elements that he adds. As these episodic reactions occur, the unpredictable activity is mediated to a great degree by the artist’s observation of the entropic aspect of this process. Pomara allows the initial liquidity of this viscous amalgamation to begin solidifying, or to become more fluid, or to be broken down with additives, or to be otherwise “influenced,” creating a myriad of other possibilities.

The artist’s exploration of these subsequent possibilities propels the painting in amazing and unpredictable directions. The abandonment of formal aspects of composition becomes exceedingly helpful in the continuation of this flowing imagery. Remaining in flux, the chemical properties of the various mediums persist in their attraction or aversion to one another. It is as if Pomara were both sorcerer, and apprentice, allowing his “laboratory” to be inundated with wildly out of control colors, surfaces, and improbable combinations that lead to a labyrinth of never-ending variations. Suddenly the magic wand is waved and the frenzied activity is immediately quieted, giving way to these extraordinarily captivating paintings, imbued with otherworldly imagery that expands the viewer’s imagination and now remains as immutable evidence of the artist's vision.

As a professor of visual art at the University of Texas at Dallas, John Pomara’s teaching and research surround the visual arts with a focus on current theoretical concerns of contemporary art and culture. Pomara’s work as both an artist and educator has been widely recognized. His work has been written about critically in major art journals and magazines such as Flash Art, ARTFORUM, Art in America, Art News, Art Papers, and The New Art Examiner.