“Find a lover through getting lost inside a unicellular dream. … Listen to flowers, music, and break the waters of a seahorse. Get wetter and wetter and wetter and wetter…”
Mimosa Echard’s solo exhibition Sporal at Palais de Tokyo ended at September 4, 2022. The open-source video-game accompanying the exhibition can be downloaded via www.sporal.net.
“We could call it love … Or maybe I just fuck the shut up
And you come and find me.”
Pictorial hallucinations. Visual ecstasy out of lace, stone fragments, comic scenes, plants, satellite images. A collaged wall.
A digital animation begins projecting on the fabric. A micro-biological landscape: enhanced drops, spurs, pistils.
“Come and find me.” (Here?)
Vastness. Pre- and after history, Alpha and Omega. A window fragment in the wall. Space sounds. A feeling of Security. [We all want love, non?]
“The only thing I can accept from a stranger are compliments. … Planet earth is constantly decomposing and recomposing on the surface … Take some of my oil if it’s not too much for your swiftly bleeding heart.”
Cosmic wisdom, or: get lost in the meta-/universe.
An abandoned camp-site of rolled pillows. Signature Mimosa Echard: pastel colours, glitter, black and neon pink; vacuumed pills, tulle and plastic, junk aesthetic. Let’s have a party in this second universe.
Rainfalls of pearls. Broken threads [and dreams], a hallucinatory retreat, between childhood/girlishness and future. And always this rose complexion.
“Repulsion so often means attraction.”
Living materials, it seems. Matter-ials. Meta-real. Mimosa Echard’s practice is characterized by incorporating natural materials such as flowers and seeds into compositions of fabric, pearls, plastic, make-up and paint. With Sporal she embraced the digital.
A dildo is a nose is a Duchamp. Champion the readymade.
I think this is the Louise Bourgeois of the 21st century.