Felixe RIVES

Tokens of connection

white earthenware clay, small table, table lamp, streetlamp

A mock-up of the work (details)

This participatory performance work revolves around individuality, community and connection. My aim is to capture and build community through visual representation, participation and interaction, and to foster discussion and thought around concepts of collective identity and the dichotomy between the individual and the collective.

The audience must, by default, decide whether they want to participate and feel part of the community or collective that is recorded through the work. By taking part, the individual becomes both represented (through a unique imprint) and simultaneously part of the collective group (through the display of the evolving work on the land). The process captures a series of moments in time: ones in which we (artist, participants and non-participating audience) come together to appreciate the evolving work, the space and each other.

This work also invites discussion on privacy, identity, and how the fingerprint – accepted as a means of identifying the individual since ancient times, due to its unique nature – has now become a key or security password in our digital lives. Through this very individual printing gesture, each participant lets a representation of themself become part of a community. Each fingerprint becomes lost amongst the many, and it is the collective that protects our individual identities.

Felixe would like to thank her sponsor, Trashion for creating the costume for her performance.

www.trashion.art | @trashion.rat

Felixe is a French–Australian emerging artist who lives and works on the unceded land of the Bidjigal and Gadigal peoples. Her practice is a response to her personal, day-to-day experiences in this world. She is interested in the mundane, and in exploring the human experience: human relations to space, to objects and to each other. Working mainly in installation and performance, Felixe strives to foster a true connection between audience and artist in order to build a dialogue. She uses the artist’s presence as a pillar in her work, searching for her own voice, and at times adds an element of interaction, inviting the audience to participate in the work itself and build a stronger relationship with it.

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