From residing in a vivid melting pot of diverse cultures, the Filipino-American artist effortlessly transitions to Manila in a manner that perfectly aligns with his chosen medium of light. James Clar, hailing from a small town called Watertown in Wisconsin, had the opportunity to experience the convergence of different cultures firsthand. While he was born and raised in the United States, his parents were first-generation immigrants, with roots tracing back to Zambales and Ilocos in the Philippines. Interestingly, Clar’s surname, “Clar,” which he suspects to have Chinese origins, translates to “clear” in German, evoking the connotations of illuminating light. He states, “In German, ‘Clar’ means clear. In Europe, many people would question whether that was my real name or an artistic pseudonym, as it references light.” The uncanny accuracy of this name becomes a self-fulfilling prophecy.
Clar’s global experiences, spanning from living in a small Wisconsin town to New York, Dubai, Tokyo, and now Manila, have become deeply intertwined with his artistic practice, mirroring the movement of electrical energy that gives rise to the radiant glow of light.
Currently, Clar is graciously showing me his extensive collection of over three hundred artworks. Each piece is meticulously organized into virtual folders, accompanied by in-depth research documenting its creation process. Some artworks capture recorded brainwaves, forming intricate patterns resembling electric mandalas. Others incorporate LED sticks suspended in space, creating a mesmerizing display of luminosity. While artists like Dan Flavin and James Turrell have established a distinctive aesthetic in the realm of light art, Clar’s works possess a deeply personal meaning while still embracing an open-endedness that allows for universal connection. He explains, “My location, the people I engage with, and the conversations I have all heavily influence my work. I filter what I see and feel, but present it in a way that invites interpretation.”
As I observe the archive on the monitor, which showcases Clar’s myriad exhibitions that have traversed the globe, it becomes evident that his artistic journey commenced long before. Departing from his small hometown, Clar embarked on a transformative voyage, enrolling in Film and Animation at Tisch in New York, followed by a Master’s degree in Interactive Telecommunications at New York University. Years later, he would return to NYU to teach a Graduate Course titled “Light as an Art Medium.” Even before reaching the esteemed position of a teacher, Clar experimented with light technologies in various locations worldwide.
One of Clar’s early works ingeniously employs LED and a microcontroller to synchronize color data with time, creating a dynamic clock that shifts hues throughout the day. Another notable installation, “Flatline” (2005), featured in Tokyo smoking areas, employed a red laser as a medium, projecting a flat line whenever smokers exhaled. Curiously, the installation seemed to induce an increase in smoking among the Tokyoites. During this period, Clar primarily showcased his work in small, artist-run establishments and even unconventional venues like bars in Brooklyn, where his art would not officially sell. Reflecting on that time, Clar reveals, “My primary aim was to have my work seen. Until around 2009, I don’t think I would have identified myself as an artist.”
It was during his time in Tokyo and subsequent work for an architectural lighting company in Dubai that Clar’s artistic practice underwent a significant metamorphosis. Dubai, between 2006 and 2012, offered a socio-political atmosphere that heavily influenced Clar’s work. At that time, the art scene in Dubai was still in its nascent stage, with only three galleries featuring predominantly traditional and Middle Eastern art. Revolutionary technology-based media was virtually non-existent. Fueled by a desire to transform the cultural landscape, Clar left his job at the architectural lighting firm and established his own studio in Dubai. In collaboration with design maven Rami Farook, they embarked on a mission to reshape the city’s art scene, ultimately providing Clar with the means to sustain himself through his art. Despite his remarkable success in the UAE, with a generous studio space and a supportive art community, Clar harbored doubts, questioning his contribution to a culture that was not his own. Consequently, he made the decision to return to New York, where he resided for eight years. However, when Clar reached a pivotal point in his career, he realized that New York would always be there, and exploring the Philippines, a part of himself waiting to be understood, became his ultimate aspiration.
Thus, amidst the pandemic’s chaotic backdrop, Clar made the bold move to relocate to Manila. This decision proved opportune, as the pandemic allowed for increased utilization of technology, which played into Clar’s artistic endeavors. His first exhibition in Manila, titled “Share Location,” drew inspiration from the mobile phone feature that enables users to inform others of their whereabouts. Freshly arrived in the Philippines, Clar embarked on a unique exploration of the meaning of “Share Location” by surveying the terrain of Mandaluyong city. Using two karaoke machines, he dragged microphones along the road behind a moving tricycle, transforming physical space into sound. During an exhibition tour, Clar described the work as “The city singing itself.” Making the most of Manila’s empty streets during the pandemic, he drove through downtown Manila with a laser mounted on top of his car, projecting an animation of a dog running freely across the deserted city.
In 2022, Clar undertook a monumental project of unprecedented scale, demanding meticulous coordination. The result was the colossal parol (lantern) that adorned the Ayala Museum in Makati, which he transported from the renowned Lantern festival in Pampanga. Accompanied by a five-car convoy, Clar’s team drove the lantern atop a truck at two in the morning, skillfully managing traffic obstacles along the way. This endeavor was not without challenges, as a truck breakdown occurred the night prior. The gargantuan parol, a winner of the lantern festival, seamlessly integrated into Clar’s work titled “I Can’t Tell You What I Don’t Know, Only That I Don’t Know.” One summer after his arrival in Manila, Clar conducted an experiment. Prompted by a friend, he asked them to recite the national anthem over the phone while he attempted to transcribe what he heard using his diasporic brain, one unfamiliar with the nuances of Tagalog. The resulting transcription was full of errors, but with the help of Ayala Museum curators, the corrected version was wrapped around cylinders that triggered lights. Each letter hit by the light triggered a response, creating a captivating visual experience. Clar reflects on the significance of this artwork, stating, “It’s about understanding culture. There’s this mechanical brain attempting to comprehend the national anthem. Ayala Museum serves as an institution representing Philippine culture. Thus, this artwork becomes a mechanism for understanding culture in front of an establishment focused on official culture.”
Since his move to Manila, Clar has dedicated his time to conducting various experiments and immersing himself in the diverse aspects of Philippine culture. In collaboration with the Silverlens gallery in New York, he meticulously planned and executed an exhibition titled “By Force of Nature” in partnership with Hidilyn Diaz, an Olympic gold medalist. Additionally, he participated in the Butanding Barrio residency in Puerto Princesa, where he delved into the local ecology as a resident artist. Recently, Clar curated a show, “Island Time,” at the Jane Lombard Gallery, selecting works by both emerging and mid-career artists residing in the Philippines. Currently, his exhibition showcasing a piece based on the solar arc lighting on the day Arturo Luz passed away is on display at…
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