Kudos acknowledges and pays respect to the Gadigal and Bidjigal people of the Eora nation. They are the traditional custodians of the land Kudos operates on. We create, design, share, and exchange our work and knowledge on this important meeting place. We pay our respects to elders past and present and extend that respect to any First Nations people who engage with Kudos. This is and always will be Aboriginal land.
| Felixe Rives is a French-Australian artist working across painting, performance and immersive installation. Rives explores ways of grounding amongst the ever-changing home, she explores the perception of space within the home and the role of objects in the creation of home. Using processes of site specific performance and documentation, video projections, as well as trace, Rives navigates connections amongst the loss of a home. She uses the body as material to explore embodied experiences of grounding, through her focus on space. Rives introduces time as a key element of grounding; she uses projections to speak about memory, bringing the past into the present. www.felixerives.com @felixe_rives |
| Dear Furniture, i love you Dear Furniture, i love you, 2026, video installation, 9 min, 150x100 m Dear Furniture, I love you is composed of a 2 channel video installed on monitor screens designed to look like windows onto a sofa and an armchair that would be in the space. The videos are close up recordings of projections superimposed onto furniture, they reveal a body in performance moving from one furniture to the other, from one screen to the other. The body’s alternation between the two screens connect both of these scenes to a singular moment, it also introduces a sense of play, which is emphasised by the spontaneity of this performance introducing a ‘stream of consciousness’ way of thinking through performance. Although we do not see the in-between space, through the performance, the objects seem to be part of the same space, the removal of the space in which it was performed brings a sense of the loss of home,its memories carried only through the objects. The gestures of performance include tracing and caressing the sofas in an uncomfortably intimate way. In doing so this work aims to challenge and question our relationship to objects beyond their purpose. The use of projections creates a ghostly effect to the body revealing the memory of past interactions with the objects. Through these intangible effects the work aims to create a sense of loss of this connection or longing. |