Mimosa Echard

Mimosa Echard taps into realms of biological exploration, experimental cinema histories, and personal experiences to create artworks that explore the interplay between sexuality, synthesis, and perception.

Biography of Mimosa Echard

Born in 1986 in Alès, France, Mimosa Echard spent her formative years with her sisters in a hippie community nestled in the Cévennes. She pursued her studies at the École nationale supérieure des arts décoratifs in Paris, graduating in 2010.

She served as a resident at Villa Kujoyama in Kyoto (2019), Villa Albertine in Miami (2022), and Villa Albertine in New York (2023). Since 2021, she has held the position of leading a painting workshop at the Beaux-Arts de Paris. Echard was honored with the Marcel Duchamp Prize in 2022.

Her recent solo exhibitions include "I Think My Cells Are Fucking Behind My Back" at Heidi Gallery in Berlin (2023), "Sporal" at Gallery Weekend Beijing in Beijing (2023), "Numbs" at Galerie Chantal Crousel in Paris (2021), "Un bout de toi, Salomon" at Martina Simeti in Milan (2020), and many more. 

Additionally, Mimosa Echard's works have been featured in numerous group exhibitions held at prestigious venues worldwide, including Galerie Christophe Gaillard, Auditorium Louvre, Centre Pompidou Metz, Galerie Artemisia, Musée des Beaux-Arts de la Ville de Tourcoing, Fonds d'Art Contemporain, Galerie Gaudel de Stampa, Galerie Chantal Crousel, among others. 

Currently, the artist lives and works in Paris. 

Mimosa Echard's Art Style

Spanning across diverse media, including sculpture, installation, and even video games, Mimosa Echard's artistic endeavors are propelled by continuous and conflicting processes of absorption, accumulation, and circulation. These processes draw inspiration from a wide array of sources, ranging from popular culture to metabolic systems and electromagnetic spectra.

With a keen awareness of the latent potential inherent in her chosen materials, Echard's assemblages and installations challenge conventional modes of understanding. By displacing language's capacity to fully grasp its subject, she encourages the emergence of novel and "unnatural" associations.