about

photograph by Elliot Seon

 

 

Kristina Tokar is an interdisciplinary visual artist working in South Florida, primarily with moving images. Her past clients include Chewy, Sofar Sounds, Rip It (Lacroix sub), C&I Studios, Paley Institute, SSOF (Sponsored by Palm Beaches Film Commision), and more.

She enjoys staring into the sun and prefers life scrambled, seaside up. Influenced by theater, psychology, and music videos. Her art practice investigates the ritual of meaning making through the lens of absurdity. 

 

 

artist statement

Let’s turn on the cam! No? Your 30 (on average) frames per second loss. What more could a girl want than video?

Seeing receiving people in digital pieces is the best and most cost effective gift that keeps on giving AKA press play to watch and press play to watch again.

HOLD ON, you’re burning my butter!

She grabbed my tie then confides when she first kissed a boy, she wished for a boob to grab and now I forever after long for such a gay heart.

This work comes straight out of the diary (sometimes), can you tell?  Brick by word, image after image, logic shows off reasoning and internal pains manifest external wounds. Heartbreak stains shirts and even a friendly, well intentioned bite gets pus. So careful not to let that wound infect!

Top of the food chain now,  (politely) bow down. I use your remains to nourish the soil to bring the color back to these gray days. Six feet once under, three feet and rising. Using your discards against you, you should be fearful. Uncertain. There’s a lot you waste and I’m not a fan.

Plain in daylight, dancing in the shadows.  Bound by our own, to serve to protect. I’ll give you my arm to cut for us, I can’t do it myself.  Your hand is cold like watermelon should be.

Take this beautiful glove for your cold hands. Does it feel better stolen? Do they fit like a glove? Stepping into some new shoes should be no different.

In it together, in it for the absurd. If I don’t make sense the first viewing, rinse and repeat.  Writing fills in the gaps. You can’t forget a recording but you can forget the who, where, when and why.

Thus, my practice navigates storytelling using vignette memories as the reality. Often described as psychedelic character-space explorations. Often combining a variety of alternative processes because there’s many ways of doing the same thing.

I make short duration fast cut video art navigating my own coming of age narrative.

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