Tomlin, togeher with his close frined Frank London, traveled to Woodstock in 1925 where by he became increasingly involved with the community by joining the Woodstock Artists Association and acquiring several houses over the years. While at Woodstock, Tomlin developed his own personal interpretation of abstraction. Using a limited palette of full-bodied colors and fragmented forms outlined in thick black lines (a technique that harks to his early training in the Louis C. Tiffany Studios on Long Island) Tomlin created compositions that found movement through compressed space and restrained brush work. Horse illustrates these elements as seen in the large animal contained within bold black lines and further confined from behind by fragmented structures. This allows the animal to only challenge the strength of the composition's bounderies, thus creating a sense of explosive tension. By the late 1940's, Tomlin was established with the group of Abstract Expressionist who made New York the center of the avant-garde.