Hitomi Sato and the Attraction of Light

Hitomi Sato and the Attraction of Light

Hitomi Sato and the Attraction of Light

Sense of Field – Various dimensions

 

The Japanese emerging artist based in Tokyo has a notable background in architecture and design from her study at the Musashino Art University that impacted her aesthetic. Focused on the harmony of light and humans, Hitomi Sato finds inspiration in the observation of everyday unexpected beauty produced by organic elements crossing one another by sheer chance. The unveiling of rays of light touching asphalt, or the interaction between the natural laws of the weather and high-tech are all examples of the optic play she integrates in her immersive and harmonious artworks.

As she discusses her creation process, and her vision of the future of contemporary art and technology, Hitomi Sato expands on the role of the spectator’s intervention in achieving the release of resonances of one’s inner world and memories.

ArtPremium: What is the role of light in your artworks ?

Hitomi Sato “I treat the light as a medium. When we see the environment we see it through the light, which means that, as time goes by, it looks different, it changes, and you feel the time difference. But at that point, when we see the environment, we do not just see itour body starts reacting and integrating into the particular environment. When you go back to daily life, there is so much information surrounding you that this body reaction doesn’t happen because the body is getting stiff. So what I am trying to do with the light is to release the tension of that stiff body, and I am trying to find out what is the best way to do it.”

The core essence of her art reveals itself in the tangibility and multi-sensorial experience. The temporal and spatial holistic approach in her Sense of Field (2016) work, a glimmering walkway packed with optic fibre-like radiant light film is telling of the artist’s interactive play with both the viewer and the artwork. “The audience has to feel”, and this sparking of body memory is the realisation of how the observer’s body will change when immersing itself into her optic and spatial illusion. Light, and especially natural light, has a polymorphic effect, and Hitomi Sato stresses on the freedom to choose the meaning we may find in the internal and physical involvement with the art piece, as a unique interaction, each time different.

Your installations immerse the viewer in your works while involving movement and touch. What is the role of the body in engaging ourselves with art?

Hitomi Sato : “Body involvement is very interesting because this happens without my intention in creating any particular object. There is no message in my art; I’d rather say that my art’s function is to nurture the mind and body of the observer, so that they can really define or feel their relationship between the inner and outer. Art is not just for the eyes, it is interesting for us, the creators, to make the audience understand that there are many ways to appreciate it using the five senses of the human body, including smelling, touching… The human body is great because it is not only the sight and the eyes which detect the walls surrounding you, the whole body is reacting to what they see and feel.”

 

What kind of colours do you usually tend to integrate and associate with light?

Hitomi Sato “My primary interest is in light, colour comes next. First of all, I am focusing on the light, and when I start focusing on the changes or metamorphose, then I think about the colour as a very subtle addition. I take great care when I choose the colours because, for me, it must be transparent, clear, and clean. I will not just use primary colours, but rather a subtle colour, which is closer to the light, to the sunlight.”

As a cascade of colorful panels hung from her installation Heart Washing Room, Hitomi Sato’s meticulous and elegant work engage with the landscape or urban architecture surrounding the artwork, taking into account the rhythm associated with the constant growing of a city or the dichotomic framework between order and disorder. As she explores the relationship between human beings and nature, her art forms a bridge between the outside and the inside, as a means to enhance the sense of feel. In Light of Temple that Sato created in a Buddhist temple out of an exquisite light phenomenon, she intents to recreate the serenity of being in a hut and feeling nature’s special beauty.

Thus, greatly inspired by the Japanese culture, she mentions the sunpou寸法 (measurement) specific to the Japanese strict way of making regulated or customized actions, sharing the time, or judging collectively materials and things. The thorough Japanese control, patterns, keeping a distance is analogous to the fusuma, the Japanese sliding doors made of paper, whose primary function is to shut down the outside world while still being able to feel the slightest change of the environment, light or sound. Feeling this blurry and flexible limit between the inner energies and the external nature is what Hitomi Sato renews in her artworks.

Organic elements often play a role in your installations or objects. How do you establish relations between the natural environment and the universe through the human sensesalso regarding the Komorebi effect?

I am always interested in the human being. As you live, there is an accumulation of customs, for example common sense, which comes from all the information accumulated in one’s life. What I like to try is to release those elements from the human body and mind, and let the audience or observer be free from it. What I personally think about the modern world is that we are losing the archetypethe original, basic or fundamental things are now broken up. We lost the focal point and the point of reliance.

I am trying to evoke the primitive memories of the human being by causing the vibration which can connect us to the primitive or the cosmos. When you see the shimmering water or the komorebithe light pouring through the tree leaveswe feel that it is such a lovely landscape. Yet, that kind of feeling started from the old archetypical memory, which maybe the primitive people also had. That, I think, is the vibration and the repetition of light and nature.”

 

ArtPremium: Through the influence of design you also use ordinary or plain materials in your different works. How do you integrate nature and design in your work? Is it a way to reconnect everyday objects with immaterial or spiritual senses?

Hitomi Sato “I think the process of making my art is more important, and especially regarding the materials. I am always trying to see things purely so that the materials shouldn’t be seen as materials. For example, if you take the example of acrylic, we sort of have a presumed concept that this thing is transparent and hard, but I intentionally tried to break that prejudice, just like the primitive people who have never seen acrylic before. So my main function and main concern is to deconstruct the already constructed concept and way of seeing.”

Hitomi Sato first studied architecture, without aiming to become an architect as she was more concerned about the performance space, the philosophical aspect of degeneration,“ how one piece a wall will affect the human being, and his mind and body,” and the Japanese unique way of sensing time and space. She continued her study in a graduate school with a major in science of design, where she studied basic theories of design and the Bauhaus. Her minimalistic design and various works have been exhibited in numerous countries since 2012, from a Wall exhibition in Bologna, Italy, to a project in Melbourne, Australia around the tea ceremony. Her more recent works are collaborations between architecture and art, as well as the study of the ever-present intricate relationship between individuals and nature. While exploring the three fields of art, architecture, and design, Hitomi Sato’s aesthetical aspiration is now to show the audience how to touch the light and to depict the morning sun.

 

Imaginary Landscapes of Laura Berson

Imaginary Landscapes of Laura Berson

Imaginary Landscapes of Laura Berson

Through her use of poetic and profound subject matter, Laura Berson is on a quest to figure out her position in the world in relation to the elements that surround us.

Specialising in portrait and landscape photography and having won multiple awards, Berson has a professional background as an actress, screenwriter, and filmmaker. Her work focuses on the treatment of pictorial and cinematographic light, in which she refers to the dramatic use of light explored by the Dutch and Flemish painters from the seventeenth and early eighteenth century as a source of inspiration. Her artistic practice explores how the body, mind and nature are all interconnected. There is an ever-present element of nature in her work that is related to macro- and micro-organisms, things we do not see, but things that exist, and how everything is connected yet somewhat disconnected at the same time. She tries to express all that she doesn’t know,what she feels as a human being and her perception of the world, in order to find the essence of something. Her conceptualised artistic practice allows her to play on forms by expressing the infinitely large and infinitely small. 

EFNI 3

From the series “Efni”, 2018, C-print. Courtesy of the artist.

Berson began practising photography at age 19, and it is through her sensitivity and softness that she is inclined to approaching themes around the body of women, mixing eroticism and fantasy, and conveying a subtle world in which strength and fragility are two sides of the same coin. Her landscapes are often a purified attempt to transcribe an architectural universe in which Man is erased by its smallness. By orchestrating light and staging, she gives free reign to her sensibility and seeks to transcribe reality into a dreamlike and reassuring image. To dive out of everyday life allows her to better understand her positioning in the world from an objective point of view. Berson’s influence is varied, ranging from elements of the universe, nature, the environment, to how all of these overlap with one another in order to form a more complex system. Our position in the world and the footprint we leave on the environment are themes that are also explored, as well as how our bodies respond to illness. She is particularly attached to show that which we do not see, stating that some illnesses are not visible to the human eye at first glance, yet that doesn’t mean that the pain one is enduring does not exist, and to explore these ideas in an empathetic manner.

In 2013, she directed a documentary on identity and its relationship to art after having worked on various short films and clips as chief camera operator and assistant. Berson worked briefly in the fashion industry where she notes that we are all transcribing to unattainable ideals of what is considered the perfect body, or image, and that we are conditioned to think in certain ways through exploitation of these images. She felt a misconnection in the treatment of human beings, which led her to feel as though the industry was meaningless and sanitised. The true essence of what is meant to be human is lost, so in her work she tries to portray women (and human beings in general) as they really are, depicting them as imperfect while she steers away from stereotypes, showcasing their sensitivity and strength.

In October 2014 Berson recalls, “I came across an article about women who are sold as slaves in Iraq and Syria. It shocked me, even if this practice is not new. In early January 2015, I learned in a dreadful document from the Iraqi news agency Iraqinews (reported by the Parisian) of the prices these women are sold for, and how they are atrociously reduced to slavery. The novelty for me was that the sale price of these women was made public, official, written in black and white, and the older the woman, the less her worth. It’s as if they were advertised in some form of catalogue, except that the items are not clothes or furniture, but women of all ages. They are sold with a thirty-four-page “manual” on elaborate rape, like a product’s purchase notice. It’s easy to imagine for an object, much less for a human being. This instrumentalisation deeply shocked me”. 

In response to this article, she presented a photo exhibition Ici et Maintenant at the Maison de la Mixité in Paris, alongside the association Ni Putes Ni Soumises. Inaugurated on 25th of November 2015, a day of struggle of violence against women, Ici et Maintenant showcases portraits of women and girls in light of the inhumane acts of certain cultures that still practice modern-day slavery. They are all depicted in the same fashion against a black background, where the women are dressed in a simple black T-shirt with a slate around their necks on which appears a price, and from time to time, a word. Their faces express a feeling of sadness, sorrow, despair, anger or incomprehension, symbolising the fact that women far too often have their identity stripped to a mere number and are treated as objects in society, and are considered inferior to that of men. The images in this series are presented as if it were someone you knew, to heighten the emotional attachment to the inexplicable ways, in which women are still treated in society today within certain cultures.

Ici & Maintenant

The artist and the series “Ici & Maintenant”, 2015, C-Print

Her work shares an interest in the investigation of identity and the place that each individual occupies in the world in relation to space, body, and consciousness. In her series Percipere, she experiments with a metaphysical doubt in a concrete way. The images pose certain questions, such as whether the body is connected to the mind, and reflect an impression of a world without meaning. The basis of the project lies in the way in which reality is constructed; a process in which our five senses intervene, and in a disorganised manner, cause our perception to change. This phenomenon referred to as derealisation, which simply put, is a disorder in which we perceive the self and the environment in a strange way. She raises this sense of not belonging to the world and the need to find a balance between these two points.

Le mythe d'Endomètre

From the series “Le mythe d’Endomètre”, 2018, C-Print. Courtesy of the artist.

Berson was heavily influenced by the contemplative slowness of the film ‘The Sacrifice’ by Russian director Tarkovsky in her series Zhertva. She reflects this ambiance in her work through an ever-present solemn element, and tries to transcribe this feeling of loneliness that is felt in the film, with the main character being on a quest for the meaning of life surrounded by elements of nature which are always present but in unusual ways. It explores how everything is connected yet somewhat disconnected at the same time, and how our relationship to the body and our relationship to the world are deeply intertwined. She articulates a physical space and a lived space, with our experiences of life being both concretely and culturally constructed within our environment, and poses the question as to how the body is built in relation to the space we inhabit in the world.

Berson’s photographic practice is identified as a search for the essence of something, an identity we can prescribe to, in relation to that which we are surrounded by, in which multiple realities are possible. She invites the viewer to explore the sensitivities to her varied subject matters in an ethereal manner. 

Berend Strik, Deciphering the Artist’s mind

Berend Strik, Deciphering the Artist’s mind

Berend Strik, Deciphering the Artist’s mind

Deciphering The Artist’s Mind: fremdkorper (Studio Koreans)

How is art transcending the artist’s historical and physical creative action? Dutch artist Berend Strik’s ongoing project Deciphering the Artist’s mind is the unfinished travel initiated in 2012 around past and present art memory, taking form in an immense body of photography artworks. 

Since the visit of Manhattan studio of Marcel Duchamp, Strik has been taking for photography subjects these particular private places, where the energies and vibrations of the creative process suddenly reveal their history through the eyes of the Dutch artist. Photographing parts of the studio architectural space, Strik prints his work and adds multi-layered narratives through colored textiles stitched on the surface, composing a completely transformed work. Informative, interpretative, a tribute to influential figures, his three-dimensional photographs are like a mise en abyme, the capture of an exclusive moment of exchange between Strik and the different artists while conveying a personal theoretical reflexion on art. 

Deciphering the Artist Mind – Studio W.D.K.

The international artists of each 68 studios visited by Berend Strik, – be them contemporaries or renowned past art history figures, like the studios of Jackson Pollock, Lee Krasner, John Baldessari, Martha Rosler, and others – are dimly present in the works at a phantasmagoric level. He demonstrates the intemporality of the creator’s soul, absent from the studio but still existing in the dialogue he establishes with the electrifying resonance of the studios’ creation memory.   

 Revolving his problematics around the myths of art creation, he endeavors to converse with the genius consecutively coming into being, artwork after artwork, in an intimate physical setting. The magic of the studio appropriated by the photograph is thus an endless investigation of the artistic mind projected into reality, and the seemingly impossible quest to conjure up the artists’ essence.   

Deciphering Artist Studio's Mind - John Baldessari

Deciphering the Artist Mind – Studio W.D.K.

 In the continuity of the ambitious photography project, Berend Strik is pursuing the project with a book Deciphering the Artist’s mind designed by the internationally famous Dutch graphic designer Queen of Books Irma Boom. Promising to be a “real oeuvre d’art”, the illustrations of the book associated with Berend Strik texts and with Marja Bloem will offer new narratives and a complementary outlook to his artwork. Completed with a conversation of Berend Strik with selected artists, the book will be published in spring 2020. 

 Corinne Timsit and Berend Strik are announcing their collaboration on current and future projects. 

 Berend Strik was born in Nijmegen, The Netherlands in 1960, and lives and works in Amsterdam. He has exhibited in numerous art galleries, solo exhibition shows and major art institutions (Stedelijk Museum Amsterdam, Tilton Gallery: New York, 5th Biennale d’Art Contemporain de Lyon…) and is present in large collections (The Centraal Museum, Utrecht; Museum de Lakenhal, Leiden and Haags Gemeente Museum, S’Gravenhage)

 

 

 

Carlos W. Desrosiers:  The Experience, an immersive exhibition in Paris

Carlos W. Desrosiers:  The Experience, an immersive exhibition in Paris

Carlos W. Desrosiers:  The Experience, an immersive exhibition in Paris

“When a piece is done, it always feels like a complete song to me.
There is no more instruments, notes, or tones needed.“

 

Carlos W. Desrosiers’ upcoming exhibition from June 23 to July 31 at VOS Paris challenges the status quo of exhibiting art on limited formulated canvas. The American self-taught artist from New York presents The Experience, revealing his original 9 paintings from his “What you see” The collection splashing out from their core basis and becoming materially alive in the entire space.  

 

 

Liberated from its frame, the vitality of the painting invades the room on various supports, which results in an augmented viewing experience. Like independent phenomenons emerging from the original work of his paintings, his ‘Figures’ take up space on the windows or walls. Fragments are hanged to the ceiling, while three-dimensional sculptural unities become autonomous living organisms. The jumping off point art piece multiplies itself through an explosion into other lives in the exhibition.

Through an organic body of work of installations, photographs, signed multiples, or prints, the artist cultivates his aesthetic of vibrant colors surge. He incorporates writings and natural elements as energies that assist the work in the creative process.

The exhibition is accompanied by music as a means to awaken awareness for the vibrations of the art. The artist becomes aware of the completion of the work when it resonates wholly, as both music and art can touch a higher frequency. The colors tones he applies frenetically, like music notes dancing on the drawings, interact with what is true to the soul, and trigger all the senses.  

On the main original canvas, the thick layers of paint are the essence of his “panning technique”, a process usually associated with audio recording. Infinitely adjustable and rotative, his works exceed the fixed gaze and suggest an expansive view and endless possibilities of interpretations.

 

 

The Experience is thus incredibly immersive and takes the individual into the heart of the latter’s self universe. Moving forms devoid of a figurative depiction, his collection of paintings morphs depending on what resonates to the viewer’s subconscious. Carlos W. Desrosiers is adamant about knowing what people perceive in his abstract landscapes, unfolding what is beyond our past and life experiences. He always seeks to manifest a different reality with innovative perspectives, and to truly engage with the everyday curious onlooker, stating that his work is “a clear mirror of self for the observer.”

Carlos W. Desrosiers’ artistic expression hinges indeed upon this notion of movement and collective subconscious. His genius resides in his creative power and spiritual overview, his belief that every object of the world possesses innate wisdom. Before considering himself as an artist 6 years ago, he had an inner desire to transfer his knowledge of the mind and “the esoteric and healing power of men” into a tangible way to awaken humanity.

 

 

Very passionate about all healing techniques including Taoism, self-development, and kinesiology, he was impacted from a young age by the “healing world” as his father is a naturopathic doctor. His thirst for knowledge, the consciousness of his self-awakening paved the way for the discovery of his real duty as an artist, and each crafted piece revealed him new techniques.

When first meditating on art history, he felt an immediate connection with Jackson Pollock’s artistic splattering as an intuitively free and uncontrollable process. What Carlos W. Desrosiers calls his “subconscious reprogramming” techniques takes on form in the painting act through losing control of his hands, leaving the physical element and unlocking his hidden potential.

 

“Beautiful images emerge out of the erratic and out of the chaos”

 

 

 

With parents coming from Haiti to America, Carlos W. Desrosiers was born in New York City in 1988. While not having an economically privileged background, Desrosiers worked at a golf course for 12 years only to later be emerged into the world of Rap music as an A&R manager at the age of 17. Developing a strong rapport with artist and working on different projects and albums, Desrosiers quickly became a key component to artists and their recording process. He has been evolving in the highest spheres of the Rap/Trap music industry, being very close to top renowned artists like Rihanna, Travis Scott, and Migos.

He created in 2012 his first body of art still in progress named “What You See Collection Private Experience”  including over 20 artworks exhibited at Art Basel Miami and at The Fearless Artist Art Basel Pop Up Gallery in December 2015. His “Living abstract” body of artworks and murals were shown in Lower East Side Manhattan, New York City in February 2016.

 

The Experience by Carlos W. Desrosiers
From 23 June to 31 July 2019
VOS Paris
21 avenue Kleber 75016 Paris

A hopeful breath at the MCA with FEDERICO HERRERO

A hopeful breath at the MCA with FEDERICO HERRERO

A hopeful breath at the MCA with FEDERICO HERRERO

Currently exhibited in the Museum of Contemporary Art Chicago, Federico Herrero has taken over the two-story entrance of the MCA space, with his Alphabet project a recurring motif of communicative and playful patches of colours from the wall to the reflection of coloured lights on the ground.

After a 10 months joint collaboration with the museum through an impressive mural installation, the occasion for an immersion into the colours and the vibrations of the room will soon be ending. Until May 5 2019 the international Costa Rican artist invites the visitor to penetrate the new environment created with enticing pastel colour blocks reminiscent of the flora and fauna of Herrero‘s tropical birthplace.


Observable from the painted windows of the atrium, the city’s buildings are covered and transformed with the artist bright blue, yellow, orange filters. The swift change of season in Chicago allows for a continuously mutable exploration of the relationship between nature and public urban culture, between art and social life.

 

 

Born in 1978 in the midst of the natural density of San Jose, Herrero was influenced by graffiti and urban art, media, and everyday city art but also recalls color field painters and Central America muralist tradition. From his first notoriety at the 2001 Venice Biennale as a young artist, his artwork gradually progressed into more abstract and less figurative forms. The artist has developed his oeuvre from canvas paintings to mural and monumental pieces, usually breaking free from the wall space, challenging usual space restrictions like grounds, corners, ceilings, and windows, in his artistic expression of a chaotic and joyful landscape.  

 

 

Although his paintings first appear as patterns of geometrical drawings or as the mental forms of a mapping process, his idea of linguistic chromatic shapes in the Alphabet exhibition comes across as the perception of living, “jumping from place to place” pigments, crossing boundaries and giving new life and vividness to the environment. He uses a conventional painting technique to produce a multicolored and visual sign language in order to engagingly interact with the architecture and the city of Chicago- directly through formal colours.

One of the world’s largest museum, the MCA was founded in 1967 and offers inventive displays for new contemporary artists, with a permanent collection including more than 2,000 works. The current installation is organized by MCA Associate Curator José Esparza and Pamela Alper Associate Curator.

 

Today, Herrero’s wide range of artworks can be seen worldwide from numerous exhibitions in museums or galleries to public installations and he has become one of the major figures in the Latin America contemporary art scene. This October he will be exhibiting at the James Cohan Gallery while his future solo shows will take place in Brazil at the Niterói Contemporary Art Museum in Rio de Janeiro in August 2019 and in São Paulo at the Pivô art center in 2020. In his native San José, Herrero will also show his projects at the Museo Nacional de Costa Rica in 2020.

 

The endless wave spectrum

The endless wave spectrum

The endless wave spectrum

 

Language is extremely interconnected with politics and the ways of the world, in this respect it is valid to say that it is a living system at the mercy of outer influences. It evolves as civilization does, however can technology be detrimental to communication? James Clar, an American artist using different mediums such as video, light sculpture and installation examines, through his oeuvre, technology’s influence in language and in our lives.

During his sojourn at Dubai, Clar became acquainted with cultural and political systems diametrically opposed. Despite the city’s rapport with muslim customs, Dubai is considered as a child of the global era where the majority of its inhabitants come from foreign countries and where English is the second language spoken. The metropol significantly influenced Clar’s narratives, his piece Global English evidences English’s hegemony, “it’s use as the standard communication language”. The British writer George Orwell recognized too language’s relevance, in his book 1989 he imagined a society ruled by a totalitarian regime in which a new language was implemented – newspeak- to better control the population. Although we haven’t yet attained that point, the loss of dialects and (other) languages symbolizes the United States power over the rest of the world. At the same time English’s implementation narrows the logic spectrum homogenizing concepts, wiping off entire ways of thinking.

Though technology is not demonized by the artist, he’s not eager about it either as he emphasizes the collateral impact of it in our daily basis. After Walter Benjamin’s opposition to the mechanical era, technology has largely surpassed any forecast made by philosophers or thinkers alike. Nevertheless, if someone predicted the ascend of media and its preponderance was the Canadian communicologist Marshall McLuhan. Even before internet’s explosion and the arrival of Facebook or other sharing platforms, he stated that from the moment man put a satellite into orbit, nature ceased to exist. This conception of the world where nature is man made is largely considered by Clar in his work. His installation River of Time reproduces an historical Ford model mimicking a waterfall, mechanical components blend together creating an artificial environment, natural and manufactured meet hence questioning innate rules. But if nature hasn’t ceased to exist, McLuhan’s poignant assertion insinuates in every possible way. As an example to this Clar pointed out artificial light’s effect in our day to day; natural light no longer dictates the dream cycle nor our activities. The information era is defined by a relentless stream of data discharging before our eyes all types of information. As we wrestle to cope with the incessant pile of available information, the latter becomes an aesthetic form. The Fire won’t stop, an artwork composed by a LED screen, a computer and a non conductive liquid streams a video on loop of a man on fire. The never ending action and its disposition makes it conflicted and absurd, we can’t help to question the real impact of technology in our lives.

eXistenZ is paused furthers and interrogates the way our contemporaneous ecosystem is constructed. This particular artwork takes inspiration on the film Existenz by David Cronenberg in which a “virtual reality” game called eXistenZ replaces reality. The sequence chosen by Clar shows the two main characters in between two worlds, the game and reality. After Ted Pikul (the main character) decides to pause Existenz he experiences an odd feeling, reality feels less authentic and thrilling than the game. While the video is on a loop, an EEG sensor analyzes the computer’s own brain waves. Absurdity is prompted by a nihilist mechanism, over analyzation of waves and the infinite loop makes us question on technology’s real role. Machines have become “extensions of our beings and are metaphors – they are literal, not figurative”, nowadays technology isn’t a mere tool but a necessity. In between the fictitious world generated by technology, how can we differentiate reality from fiction? Our cellphones, televisions, ipads and every technologic product aids us in a world where the body isn’t the sole phenomenological indicative, machines are thus sensible extensions of our senses. Nevertheless, are they assisting or originating gaps? The French writer Albert Camus defined absurdity in his essay The Myth of Sisyphus as the “divorce between man and his life, the actor and the setting…”. When a man detaches himself from his habitat and ceases to establish a relation with his surrounding, he’s alienated and loses the purpose of his life. Once again Clar doesn’t preach for a return to a “natural” idealistic Arcadia but highlights the void generated by technology. Nodody’s Home produces an illusion of presence, behind the door we see what seems to be the shadows of people walking, but we soon discover the piece is playing upon our perception.

In Clar’s oeuvre there is not arbitrariness or judgment, in the manner of scientists he restrains himself to study the collected information and present it to his audience. Clar’s design is not political nor moral as his objective is to build an aesthetic based on light systems. If Artists like James Turrell and Dan Flavin have already developed their own study on light what Clar has to offer is a new perspective on the matter. While Turrell’s approach is attached to a cosmogonic vision, Clar tries to give shape to the way computers understand light and life itself. His austere arrangements evoke the binary codes and the simplified language of machines.

Cold and artificial forms populate Clar’s universe but does this means we’re witnessing a sensible revolution? Even though humanness prevails robotic faculties and mechanics are concocting new dialects and communication means. How is this affecting our topography’s memory? How is the human mind and eye transforming? Clar knows how to formulate questions without giving exact answers.

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