Mimosa Echard (b. 1986,lives and works in Paris) appropriates dead and living matter, playing on both the illusion of living and the skilful dosage of poisons and their antidotes. The exhibition comprises film and sculpture drawn from the artist hoarding and foraging from both nature and industrialized debris to articulate her desire to make sense of the world. Echard’sunderlying botanical knowledge drives the act of collecting and composing, not solely linked to an inquiry into material but also to a possibility of being infected by it.

Algae, lichen, mentha, kombucha, phallus indusiatus mushroom, yarrow, fern, ginseng, clitoria, verbena, hypericum, summer savoury, St John’s wort, chamomile, passiflora, brambles, achillea, helichrysum, heather, tansy, egg shells, flies, chestnut flowers, sage,Diet Coke, marbles, wrapping, false nails, balm herb, car body debris, Leeloo Gé contraceptive pills, Echinacea pills, brewer’s yeast, dietary supplements for skin, fertility, hair removal wax, lactation or tranquillity pills from Boots and Schaebens. Ingredients all selected for their paradoxical side effects, which are impossible to control, but simultaneously provoke ecstasy, anxiety, annoyance, feverishness, seduction, irritation, rejection, and desire. She is the co-founder of Turpentine Magazinewith Jean-Luc Blanc and Jonathan Martin, and of the Kombucha Project Center, in collaboration with Michel Blazy.

Recent solo shows include Pulsion Potionat Cell Project Space, London; and FRIENDS, galerie Samy Abraham, Paris. She also presented her work in:Hypersea, curated by Juliette Desorgues, Monaco; The Dialectic of Stars, Platform-L, Seoul; LeRêvedes Formes, Palais de Tokyo, Paris; Pre-Capital, curated by NicolasBourriaud, La Panacée, Montpellier; and Faisons de l’inconnu un allié, Lafayette Anticipation, Paris.

She is currently working on a public commission for the HUG, Geneva University Hospital made in partnershipwith La Head.




Thinking of skins, I went back to a series of assemblages I made in 2016: found snakes’ molted skins slipped into disposable razors packagings—organic skins in artificialones, both equally alien-looking and uncannilyengineered. Several of my works use motifs of snake and snakeskins, which in my mind refer to the work of Bernard Palissy (c. 1510–c. 1589).

Much ofmy practice revolves around casting processes, and connected dialectics of liquidity/softness vs. shell-like hardness. Instead of taking this project as a separate conceptual sphere (one that would maybe involvenotions of durability, eternity, social importance... historically associated with the use of bronze), I would like to approach it in that same practice-based continuum.

My project uses clear-plastic blisters commonly seenin the packaging of electronic devices, as well as lichens, cherry stones and stems, pills and capsules, leaves, lichen and moss, snail shells, latex, glue and wax, cast together in metal into a small group of synthetic, fortress-like devices.

I am interestedin the perceptual effects operated in the translation of the interlocking sheets of plastic, through the successive steps of the process of bronze casting, into a single, organic mass of metal: a fossilization of sorts.

Transparent surfaces become opaque. Plastic, glue, latex and wax create varying surface effects, which I am interestedin trying to convey in bronze, using the numerous potentialities of casting and patina techniques.


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