Varied Approach: James Gaar

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Author: Victoria Saccomagno (OVAC Intern)

Jim Gaar, Talhook, Acrylicon canvas, 30x40”

Tulsaartist Jim Gaar likes to work on two different sides of the artistic spectrums; realismand abstraction. With over 50 years of experience and incredible talent in bothareas, I thought it appropriate to ask about his preferences and backgroundthat led him to the abstract piece “Tailhook” accepted into the Concept/OK: Art in Oklahoma exhibition.
Q: I have seen a lot of Abstract Expressionist pieces you’ve done recently, but I also know that you work with Photorealismas well. Can you explain how you choose which approach you use for eachproject?JG:First, let me state that my two favorite artists are Andrew Wyeth and FranzKline, so you can see immediately that I am drawn to opposite ends of theartistic spectrum. Also, after having spent weeks painting with a number 2 ornumber 1 brush on a photo-realistic painting, it is really therapeutic to slingand push paint with a 4 inch house-painting brush.
Q: What is the technical process for your work?Because you have a background in art education, is there a method that you findit important to stick with?JG:Since I was a graphic designer for 30 years, I think that had more influenceover how I approach my art, painting, and Photorealism in particular. I also enjoytaking my own photos for my representational paintings. Normally, I can createan edited outline drawings based on the photo and then transfer it to the panelor canvas. Another method I use is to enlarge a drawing by using the gridsystem to scale-up large paintings.
Q: Is there something specific that inspiresyour more abstract work? There seems to be a landscape-appeal in the moreangular abstract pieces of yours that I have seen, is that the desired affect?JG: Tome at least, abstract art offers the purest form of painting without having torefer to subject matter. Color, line, composition, and texture can all bepushed to the extreme  in order to servethe final result. In the past my color palette has leaned toward earth-tones,and I think that often helped to evoke the feeling of landscape.
Q: In “Tailhook” your color-scheme seems‘outdoorsy’; which caters to your title, but also contrasts with thenot-so-organic angles also in the composition. I could be completely off-basehere, but was there that desire of juxtaposition in your creation of the piece?How would you hope that a viewer would understand “Tailhook”?JG: Inmy recent paintings I have been interested in trying to control a new colorpalette and vigorous brushwork by introducing a framework of lines to helpcontrol or subdue the new, for me, extravagant color. In a sense I am applyingthe geometric lines of Piet Mondrian and superimposing them onto a RichardDiebenkorn-like painting in an attempt to find a balance between color andline. In this instance, “Tailhook” has aeronautical implications, and thispiece tends to evoke in me a feeling of looking down at a verdant landscapefrom the air. 
The Concept/OK: Art in Oklahoma exhibition opens December 16, 1-5 pm at the new Tulsa Arts and Humanities Council’s Hardesty Arts Center. See www.concept-ok.org for more information.