As if to underscore the recursive character of John Pomara’s process, the prefix “re-” appeared in the titles of all the paintings in his recent show. Although originally derived from photomicrographs of living cells, the artist’s abstract disks have pursued an independent evolution for several years, attending more to modes of representing than to the vagaries of their source per se. What was biological information has become a gestural mark, embedded both in the fluid sensuality of his medium and in the current history of painterly mark-making conceived as immediate evidence of the artist’s