ENIGMATIC VARIATIONS

Tom Longtin and Barbara Henry both use lines, knots, and complex manipulations of two-and three-dimensional space in their art.  This interview examines similarities and differences in their work.

[webmaster's note: as of June 2, 2010, Tom Longtin has left the Guild to pursue other artistic interests.  We wish him well and thank him for his countless contributions to the Guild.]

	"I am most fond of not-quite geometric shapes which emerge from choices I have made in applying paint." - Barbara Henry
	"I wanted to realize the virtual 3D shapes I was making as real-world objects." - Tom Longtin

How did you start in your chosen medium?

Tom Longtin: Having years of experience as a computer programmer in computer-generated animation for video, I wanted to realize the virtual 3D shapes I was making as real-world objects. 

Barbara Henry: I began painting while a student at Bennington College in 1982.  I had done some drawing and pastel works previously that were representational.   Painting that I had done, before, tended to be stiff and boring.  It was really exciting and inspiring to move paint around in an abstract fashion.  I experienced the sense of movement, much like dancing and skating.  In that setting I had the freedom to explore.  While there were assignments which were used as a starting point, I was quite free to follow my own muse. Although I have been creating “miniature” paintings on jewelry in polymer clay, painting on canvas allows me the most freedom.

What interests you about lines, knots, and other depictions of complex spaces?

Barbara Henry: I have always been drawn to Celtic knotwork, the Book of Kells, Native American patterns of rugs, fabric, pottery, and baskets of all kinds plus Islamic Calligraphy, to name just a few.  I recall being fascinated by complex designs in Ukrainian embroidery, African batik, Guatemalan design and color.  I am drawn to the intricate inter-weaving that I read as movement.  While it might be the linear sense of traveling, it might also be the “push-pull” of colors, a more pulsating sense of movement such as is exemplified in Impressionism and the works of Jackson Pollack.

Tom Longtin: The application of these concepts to nearly any type and size of art - furniture, sculpture, toys, and so on.

What are some of the shapes you use most frequently in your work?

Tom Longtin:  Variations of the the trefoil knot and Moebius band have appeared most frequently.

Barbara Henry: Once I lay down transparent patches of color on unprimed canvas, I usually I take a one inch brush with white paint and quickly and mindlessly “draw” shapes and calligraphic lines.  I sat and observed two paintings yesterday as I sat in the Guild’s gallery. I often insert transparent circles, ovals, ellipses or partial circles either exiting or entering the canvas.  I am most fond of not-quite geometric shapes which emerge from choices I have made in applying paint.

What is your favorite piece?

Barbara Henry: “Jazz” which is 48”x”60”h is my favorite, because after many years, I would not change a brush stroke.  When I finished it, I named it as I thought of all the dynamic energies of New York City.

Tom Longtin: My award-winning "Moebius-Helix" which can readily be found by typing my name into Google.

How does being a member of the Guild inspire you?

Tom Longtin: Through associating with like-minded artists and exposure to the public at large.

Barbara Henry: I enjoy the sense of community that I feel as part of the guild and am constantly inspired by the fantastic work created by other members.  I rarely read while sitting in the Gallery, as I enjoy just sitting and taking in the work surrounding me.