Series and commissions

Formative Years gathers Pecoraro’s earliest surviving works — student watercolors and oil studies from 1949 to 1963 — tracing the traditional training that preceded his mature abstract vocabulary.

Named for the town where Pecoraro taught at De Anza College for nearly three decades, Cupertino marks a pivotal early shift, establishing the geometric vocabulary and earth-toned palette that defined his career.

Named for the California town where Pecoraro lived, Pinole sets figures from black-and-white magazine photography beside hard-edge geometry, rainbows, and banks of cloud drawn from a spring of near-daily rain in 1966.

Pecoraro photographed the sky once a day through 1970, then airbrushed each slide onto a foot-square panel. Assembled into a 52-foot grid, 365 Skies established him as a major voice in California contemporary art.

Sky Paintings follows the sky from Pinole background to sole subject: airbrushed horizons titled by date and compass bearing, then skies set in cast resin, Plexiglas, and fluorescent light.

Plexiglas / Mirror Skies uses mirrors, layered Plexiglas, and photographs to transform ordinary skies into complex, multi-dimensional compositions bridging landscape and abstraction.

Prismatic Light transforms light into medium, combining painted Plexiglas and engineered illumination into luminous constructions that shift throughout the day between painting and sculpture.

Layered styrene and Plexiglas, beveled to catch light and mixed with metallic and iridescent pigments, the Prismatic Constructions float clear of the wall and became the most widely reviewed work Pecoraro made.

Inspired by the stacked marble of Pietrasanta’s stone yards, Archaeo-Tectonic moved from airbrushed Plexiglas to cast stone, travertine, bronze, and river rock, in works named for Italian towns and up to 60 feet wide.

Archaeo-Tectonic sets cast stone, marble, travertine, brass, and copper in tense counterbalance, echoing the rubble of Italian ruins: fragments of a civilization that never quite existed.

Named for the Santa Cruz creek near his studio, Branciforte Constructs answers the “Ocean Park” paintings of his teacher Richard Diebenkorn in three dimensions, with layered acrylic, glazes, Plexiglas, and real depth.

Santo Niño combines painting, relief sculpture, and found materials, drawing on colonial mission churches to explore architecture, spirituality, and richly textured mixed-media composition.

Branciforte Posts are freestanding columns of travertine, marble, slate, and copper standing eight to nine feet tall, carrying Pecoraro’s constructed geometry out of the gallery and into open air.

Begun as 365 paintings for 2001, 1st Encore outgrew its calendar: foot-square mixed-media works on mahogany that gather every technique Pecoraro knew, down to the acrylic transfers he’d refined since 1968.

Second Encore continues Pecoraro’s small-format mixed-media exploration, combining painting, photography, texture, and layered materials into compact meditations on color, memory, and place.

Miscellaneous works that don’t fit neatly into a defined series.