DON LONGO VISUAL ARTIST

I have always been intrigued with both visual and actual textures so I love exploring what different textural methods and materials can do to enhance contemporary abstraction. Each painting explores the art and design of this element of art from realism to abstraction. My inspiration has always been landscapes and atmospheric perspectives and how they make you feel when you look at them. Different viewpoints give you different feelings. Sometimes they come from my past travel experiences and other times they come from my thoughts and just appear on the canvas while I do them.

Having been a public high school art teacher you must have learned a great deal about art and ways of seeing from your students. It must have been a two-way street in the classroom, yes?

Don Longo: Having been a high school art teacher and mentor for 33 years (37 years total), I have always wanted to see the different ways students create art. Some are very logical and some are more abstract. I never wanted to force the students to only see it one way or even my way. I wanted them to learn the basics of each element of art and principle of design but to explore their own abilities within these parameters. I always started the lessons with images of professional artwork along with student versions of past classes. There were a variety of styles presented so they could design and create on their own or follow the incorporated lessons step by step. I demonstrated with an overhead projector, always allowing them to imitate if they needed

(this more so in a beginning art class). Of course, they had a rubric of what they were graded on but I had to keep in mind their abilities which were all different.

It must be in many ways hard to blot out those years of students and their ‘in-your-face’ ideas. In what ways do you still hear the echoes of your students? Do you find their odd or fresh ideas they shared seep through and resurface through your own current artmaking?

DL: In high school art classes you have age ranges from 14 years to 18 years old. Maturity levels from those that can’t sit still to others whom you never hear a word from. There are some who listen and try each lesson to be the best and others who just do the lesson and get it done or not hand in anything at all. My job was to let them feel as if they accomplished something in their work from the smallest elements to the finished and polished design. I would often let them bring in objects of their own to draw as well as having them work in sketchbooks both in class and at home. They were constantly drawing or painting. I felt this was a good way to make them feel successful as much as possible. I never wanted them to feel bad about their art. We would often discuss ways to make it better without degrading them for what they had already achieved. Art is very personable sometimes and no one wants to be criticized, especially in front of their peers. So for me, I always tried to be aware of this and make creating art fun no matter what ability they had.

Art is personal, art is developmental, art is in the eye of the beholder, but there are rules that make art attractive and beautiful. Confidence is built by their mentors as well as by their friends. My job as their teacher was to not let them be afraid of learning and experimenting. One learns from their mistakes and one must not take it personally. That is a concept I always wanted them to take once they left the classroom.

I say that to myself as I create my paintings. If you follow the principles of design using some of the elements of art, then how can it be bad? If I feel good after I finish a painting, then that is good enough for me.

Abstract art allows you to feel a sense of freedom in process. Do you find that to be true?

DL: Abstract art definitely allows you to be free with your design and creation. Although you can break rules, I believe there should be elements of design and color theory that make it attractive, at least me. There are some abstract artists who break with this tradition and if that’s where they want to go, then that is up to them. They are the creators. Who is to say you can’t do it that way. Creativity is in the mind of the creator. But for me, I want to look at the art I create and feel good about how it makes me feel and hopefully how it makes others feel when looking at it. new painting method I was trying out. This time, instead of just acrylic paint over the textures, I used enamel acrylics spray paint and diluted it here and there with mineral spirits till I was satisfied with the process and the look it gave the paintings. I also used acrylic tube paint to enhance areas of interest in a slight abstract way in adding and/or taking away color through pressing and pulling plastic over the paint. I kept playing with this method until I was satisfied with the enamel technique, plastic pulling and pushing over it and adding acrylic paint to finalize the process. This gave me different textures than I ever had before. It also gave some emotion to the piece which I wanted. Here I was in paradise and yet I was a bit unbalanced (so to speak) about it from my diving experience. I wanted to evoke that beautiful scenery but also give it a little bit of feeling with color choices and textures.

What are you currently working on, Don?

DL: I am currently working on perfecting my designs of contemporary abstractions. I am adding textures here and there to invoke interest while using color values and design to possibly create an emotion. I am not thinking about anything but design and color theory and as the painting develops, I will either stop as I like it where it’s at or continue pushing it to see what develops.

You mention evoking one’s emotions as one of your key point reactions from viewers. Can you explain what it is about your work that would create an emotional reaction?

My recent body of work came from my first visit to Cozumel last year. I was there on a diving trip with my husband and close friends. It was our first dive lessons in deep water. Because the first day of diving was taking place after a long evening of storms, the water was very choppy. Our boat ride out to the dive spot was also very choppy and I got seasick. I have always had equilibrium problems. I was so sick I couldn’t finish the dive and decided I needed to get back to the shore. My mind played tricks on me that whole day and I had to rest to get my body back to normal equilibrium. I decided not to go diving the next day and would spend it instead walking the beaches and relaxing. Once the others left for diving I took a walk along the beach until I got to a secluded area. I sat there, looking out at the beautiful waters, sky and natural setting and wondered what my purpose was to be there if I couldn’t dive again. I knew there was a reason so I started to take pictures of my surroundings. Once I got back home (after never diving again) I took those pictures and painted them. Instead of just doing them as realistically as the photograph, I added textures and used a Continued on next page...

What is the general size of the canvas you like to work with? What does it depend on?

DL: The general size of the canvas I work on is 24”x 24” as it’s more controllable with my painting process and the amount of paint I use but have done work on as large as 36” x 36” canvases. It’s more of a challenge to work with this size with my techniques. Acrylics and enamel spray paints tend to dry fast so you have to add extenders to them but I love challenges and have no problem working on this size canvases. I would paint on 36”x 36” and 36”x 48” size canvases on a commission basis only as I don’t have a lot of extra space in my studio and these sizes need space to work on.

I am looking at one painting that sold, called Colorado Stroll, and also looking at Blue Canyon. (also sold!) I am wondering if you can explain the difference in the thinking process, technique and objective. These are beautiful yet are two different styles.

DL: I use two different styles when it comes to painting; realism and contemporary abstraction. Through my realism paintings, I use them as a process to refine my skills and to practice my techniques of small details and control. It is challenging for me to paint as a realist because what you paint is what others will observe as real. To paint a photograph of a real place and make it look real on canvas is tedious and challenging for me. I enjoy these challenges being an ex-coach who likes to be pushed to a higher level of achievement. That’s why I was drawn to the Norman Rockwell paintings as they were almost like a photograph but had emotion attached to them by their viewpoint and style.

I also enjoy the fluidity of contemporary abstraction sometimes coming up with images that some will see as real and others will see as abstractions. I like to paint these images with unusual colors as well as trying to evoke an emotion through them.

Living in Texas, do you find the artists’ market viable these days? Tell us about the galleries you are affiliated with?

DL: Living in Texas since 1978, I have travelled around the state to areas I have never been to before. I grew up in mountain areas and rarely if ever saw a flat landscape like I did in Texas. New England has beautiful colors and textures that inspire many painters but Texas had a unique quietness to it with its flat plains and serene colors of greens and browns. There were old barns, old cars, and old fence posts from days gone by sitting out in the open fields. These images invoke a time gone by. So I started painting Texas scenes that were very realistic but also had uniqueness to them in textures and colors. The color choices I used where not always the colors of the scene in front of me. I wanted to show that feeling of aloneness, yet a feeling of a purpose in being there.

Galleries in Texas are growing. Dallas is a cosmopolitan city and has a large gallery scene although most of these galleries are high end galleries only for the professional artists who already have a following to them. It is very hard to even get noticed by these galleries. I have sent my work and my website to them but they have never responded and that’s their choice. I don’t get offended by it.

Luckily there are smaller galleries that I have been able to get into for a show or for a length of time. A few of them have closed as the art business is a tough business to profit from. Before COVID hit, I was doing POP-UP SHOWS in various towns where a company would sponsor an evening for artists to sell their work. These shows were lucrative for me. I had to bring my work in, set up my paintings and do the transactions all in one day. No overhead rent, no percentage given to the es- tablishment having the shows. But since COVID hit, there hasn’t been any more of these pop-up shows. So, I needed to look elsewhere and keep sending my work into new galleries and businesses. Right now I am represented by a new gallery in Dallas called ARTONMAINDALLAS. It’s a six month contract and they do all the publicity for the artists. Of course, I do my own publicity for my work as well online, social media sites and emails.

You grew up in the Berkshires and now you are living in Texas. Tell us about what went on between the time you lived in Lee and having moved to Texas.

DL: I was born and raised in the Berkshires, growing up in Lee, MA. I had a wonderful time growing up there. After high school, I left for college at Westfield State in Westfield, MA where I graduated in the summer of 1977 with a degree in Physical Education and a minor in Art. Since I had changed majors in the middle of my sophomore year, I had to do my student teaching the fall. This put me in the job market in January of 1978. Luckily I got a job in a residential state school for disabled youth as a physical education teacher. That following summer, I knew I wanted to further my education by getting a Master’s Degree but I couldn’t afford it unless I got a teaching scholarship or fellowship. I applied to a variety of colleges around the nation for PE/EXERCISE PHYSIOLOGY and Stephen F. Austin State University in Nacogdoches, TX called and gave me the best offer. They waved my tuition and fees while paying me $600 to work in the intramural department and coach their men’s soccer team all while attending classes for my degree. So off I went.

As a coach, I was able to travel around Texas playing other colleges in the state. I applied to many different high schools wherever I went. Sherman, just 60 miles north of Dallas gave me an offer I couldn’t refuse and so I ended up there and have been in Texas ever since. visit the VAN GOGH MUSEUM in Amsterdam once and was overwhelmed with emotion. I was especially touched by the last painting on the tour, Wheatfield with Crows. I sat there in awe and almost cried. I could feel his pain in those waning days of his career. I made me sad and was one of the first times I ever had an emotional reaction to a painting. So with those artists and styles, I try to emulate those same colors, textures and feelings they evoke in my own paintings.

Have you been in a one-person art show at a gallery? Do you feel ready for that now?

DL: I have never done a one-person show. I would be open to it since I have a large body of work from small to large canvases. I have display boards to hang the work on and tables to display prints. But as of now, I don’t know anywhere that has one-person shows. Normally, galleries and art venues show a multitude of artists at one time. Those I have done over the past few years.

As far as famous artists go, who would you consider especially inspiring or of a mentoring nature for you?

DL: There are a couple of famous artists who I consider to be my mentor. The first was Jon Gnagy, who taught me through his books about shape, color and values. The second was Norman Rockwell. I grew up a couple of miles from his studio in Stockbridge, MA. I would ride my bike to his studio and try to get a glimpse of him working. I would also visit his museum, which at the time, was on Main Street in Stockbridge. I would spend hours looking at his paintings and illustrations. What I enjoyed the most was his depiction of every day American life and the emotion or feeling you get when you see them. The third is a combination of Impressionist and Post-Impressionist artists from Vincent Van Gogh to Edouard Manet, Claude Monet and Paul Gauguin. Their use of color placement in short strokes gave their paintings emotion with textures. I was lucky to Continued on next page...

How do you wish to see your abilities and skills to develop?

DL: I love to experiment with paint and see where it takes my art in color, design and texture. One of my goals is to continue to explore abstract landscapes with textures. I want to work on larger canvases to challenge me. I want to use larger quantities of paint in buckets instead of tubes. I want my mind stimulated in my studio but also for my spirit to be relaxed in the process. Time goes by so fast when I am painting. I love every minute of it.

Do you have a supportive and loving partner in your life? In what ways would this person be there for your artistic vision?

DL: Al Dawson. I met him in 2008. We dated exclusively for the next 10 years before we were married in 2018.

We share a wonderful life together. He is supportive of all I do and what I want to do. After retirement, we built a studio in our backyard which the both of us were going to use, he for his Reiki prac- tice (a hobby of his) and me for my painting. He works full time for SOURCE AMERICA on their Regulatory Assistance and Training team. He does Reiki on the side and practices it in a room in our home as the studio has been taken over by my art work. He is nearing retirement and we are looking at turning part of our garage into his own art studio as he loves to carve Totem sticks and create stain glass window designs. He is my best cheerleader and supports my craft wherever it takes me. He looks at my work while I’m doing it and often asks questions about the process. He gives great feedback. He is always there by my side at my art shows and gallery shows. He is my best friend, my heart and soul and my partner in life. He makes the journey here more fun and loving. He supports me in all I want to do and all I want to accomplish.

What ambitious plans do you envision happening for you in the upcoming future?

DL: I want to continue to paint, to explore techniques and to share my art with any and all. I want to continue to be challenged but I also would like to settle into a groove with my work. I want to keep enjoying what life has to offer. I am a lucky man. I have love, I have good health, I have family and friends and I have purpose. Each day gives me time here on earth and I want to make the best of it.

So tell us, Don, what makes you smile?

DL: What makes me smile? Well, a homemade German Chocolate cake, No. 1. But all kidding aside, I enjoy being in my studio. I enjoy learning about new methods and application of textures and paint. https://www.donlongoart.com

I get inspiration from nature so wherever there is beautiful nature, I will find composition. I do love to travel as long as it’s comfortable. I enjoy the SW in New Mexico. I enjoy the beaches of San Diego. Mountains and streams relax me as do open plains. I am a true Libra. I need balance, nature and truth. My European roots intrigue me. I hope to visit both Italy and Ireland in the near future with my husband to do some research. I am drawn to France as well as the UK/Scotland. As I have written earlier, landscapes of all different kinds intrigue me in the senses they create. So the more variety of landscapes I experience the more variety of paintings I can do.

At some point would you want to revisit your hometown in Massachusetts?

DL: We have our 50th high school reunion scheduled for Columbus Day weekend in October so I am planning on coming back to Massachusetts for that.

Thank you, Don!