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Lodie Kardouss
A jewelry piece

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-A jewelry piece- is not intended to be worn but activated, those conditions apply in case of sale of the jewel. If -A jewelry piece- is purchased, the buyer benefits from the necklace as well as the right to display and activate it in public, nevertheless any exhibition and public activation must be reported to the artist in advance, in order to be carried out under optimal conditions by the artist.
The artist keeps -A jewelry piece- as an artist s copy in order to allow her to display it at any time and activate it in public as well. This artist s copy can be redone if necessary, but will never be put on sale. A jewelry piece can be made in 5 copies + the artist s copy. A numbered certificate of authenticity will be issued to the purchaser at the time of sale. 

A jewelry piece was born from the observation that the journey of a jewel from the hands of its maker to the person who wears it is a rather solitary one. 

Jewelers tend to work alone to safeguard their production secrets. When it is out in the open, the jewel is mostly watched by one person at once, if only because of its size but mainly because it addresses one person at a time. When finally someone wears the jewel, it could catch the eye of the beholder so strongly that the person wearing it disappears behind it. 

All along its journey, the jewel tends to fascinate, but then, fascination is a solitary experience that singles out only one person at a time.

A jewelry piece breaks this tradition of solitariness. 

It is to be experienced collectively by embodying it together. 

A jewelry piece comes into being through the way people mould and shape it. It becomes alive and begets its unique personality through the constellation of those who take part in its activation. Its shape is endlessly new. 

To play with A jewelry piece entails an instant collaboration. This experience changes the nature of A jewelry piece from a piece of ornament into an artistic composition. Anyone who wears it becomes the actor of the jewel-performance.

  • Danced by: Maria Ferreira Silva, Eva Honings, Gala Moody, Marina Palovaara and Jason Respilieux
  • Director: David Nollet
  • Director of photography: Zvonock
  • Sound art: Sylvie Bouteiller
  • Editing: David Nollet, Lodie Kardouss
  • Special thanks to: Olivier Conrardy, Paolo Franco, Max Gielis, Marina Palovaara, Pieter T Jonck and Citygate Brussels

In 2006, I graduated from P.A.R.T.S, Anne Teresa de Keersmaeker's contemporary dance school in Brussels. Throughout my career, I danced for many companies in Europe. I currently work in the performing arts world as a movement director for opera and theatre, a dance lecturer and an artistic coordinator. In 2017, I earned a diploma with distinction from the RHOK academy in Brussels after completing its 6 year art jewelry program. I now additionally work as a jeweler and object maker and combine the practices of performing arts and jewelry making in my projects.


  • 2019 Athens Jewelry Week– Athens (GR)
  • 2018 Athens Jewelry Week– Athens (GR)–Winner of the Joya Prize during the AJW


  • 2019 Galerie Art’Course – Strasbourg (FR)
  • 2018 Joya Barcelona – Barcelona (ES)
  • 2018 World Craft Council, vitrine d'été – Mons (BE)
  • 2018 World Craft Council, vitrine des créateurs – Mons (BE)
  • 2017-2018 European triennial of contemporary jewelry – Mons (BE), Stockholm (SE), Paris (FR)
  • 2017 Common ground – Mechelen (BE)
  • 2017 RHOK – Brussels (BE)2016Jewelmania – Brussels (BE)
  • 2016 RHOK – Brussels (BE)


  • 2014-2019 Movement director for opera and theater
  • 2012-2019 Performing arts and dance lecturer
  • 2012-2019 Artistic coordinator
  • 2006-2019 Contemporary dancer


  • 2011-2017 RHOK academy of visual arts, jewelry section – Brussels (BE)
  • 2004-2006 P.A.R.T.S. / Anne Teresa de Keersmaeker – Brussels (BE)
  • 2002-2004 Junior Ballet d'Aquitaine – Bordeaux (FR)
  • 2001-2002 R.I.D.C – Paris (FR)
  • 2000-2001 Centre Irène Popard – Paris (FR)