Guided by their own sense of time- Klari uses their background in photography at the base of their practice to express the tangled nature of place and relationships.
Within the image making realm, They focus on intuitive accidents that respond to their locality and landscape, specifically concerning relations of chemical sensitivity in analogue film negatives (as it must respond directly to its local conditions), and how these live chemical relationships are knotted to the intimacies of bodies and landscape.
Their practice is an extension of their own thinking, a playing with time and material to gather new landscapes.
In their broader practice, the touchstones remain the same. They utilise physicality (referring to performance and spatial practice) in art-making as a means of a meditative process and speculative response to intervene with conventional landmarks of associative belonging.
They prioritise accidents, slip ups, glitches, mispronunciations, errors, word games, anomalies, stirring the pot, writing things backwards, eating breakfast at night, 'bad timing', misinterpretations, repetition, repetition, repetition, repetition,repetition,repetition,,repetition,repetition, repetition, repetition, repetition,repetition.
They use dreams to navigate their artworks.