Born in 1986, Mimosa Echard graduated from the École nationale supérieure des Arts Décoratifs, Paris in 2010.
She has exhibited her work in various internationally renowned institutions such as:
Musée d'Art Moderne de Paris (2019); Dortmunder Kunstverein, Dortmund (2019); Platform-L Contemporary Art Center, Seoul (2018); Palais de Tokyo,
Paris (2019, 2017); Cell Project Space Gallery, London (2017).
Her next solo exhibitions will take place at ACCA Australian Center for Contemporary Art, Melbourne (December 2020) and at Palais de Tokyo, Paris (Fall 2021).
Her works are among others in the collections of CNAP Centre national des arts plastiques, Musée d'Art Moderne de Paris, Foundation Louis Vuitton, Fondation d’entreprise Galeries Lafayette, Sadami Art Foundation, Ettore Fico Foundation, IAC Villeurbanne, FRAC Corse, and FRAC Ile-de-France.
In Chakra crachat series the artist uses collages of photographs printed on paper and on fabric. These static images are covered with a thin layer of epidermis of irregular shape. This surface is in fact a network of folds formed by the application of an acrylic glue used to plaster lengths of silky and transparent fabrics, in which small objects and organic materials are sometimes confined.
The shapes and textures that emerge from these assemblages appear to be the membranes, which capture within them a cycle of transformations specific to the materials. Mindful of the life of things, Mimosa Echard wonders about the movements of elements and objects still intangible in our minds.
The film The People (2016) by Mimosa Echard could mirror the very matrix of her practice. In this video, the artist overlays sequences filmed during six years in her childhood village in the Cévennes, France. The two hours long film reminds us of a wandering mingled by encounters, smiles, bountiful nature and hallucinatory glimmer.
For Mimosa Echard, her studio is a place where her relationship to the materials imbued with one another fully exists. This job of fusing and interpenetrating — the artist gently assigns it to the components themselves, solidified inside the Plexiglas boxes like in the A/B series, which seem to be destined to a mysterious existence, operated by a slow process similar to the decoction.
“Mimosa Echard’s work gives access to a world where everything interpenetrates and transforms, an orgiastic world where desire shows its fangs and pleasures compose a revolted alphabet in an obscure voice.”
— Romain Noël