The installations operate as zones of contamination: membranes, capsules and soft architectures in which plants, cosmetics, pills, plastics and digital imagery leak into each other. Rather than symbolising anything, the works materialise a world in metabolic transition—half garden, half garbage, always mutating. Echard’s surfaces feel humid, porous, erotically charged; they hover between attraction and decay, as if desire and decomposition were two phases of the same chemical process. This is a practice grounded in fluidity: forms melt, merge, fossilise, ferment. She proposes an expanded still life for the post-apocalyptic present—a terrain where the boundaries between living and non-living, intimate and toxic, natural and synthetic collapse into new, precarious organisms. Her art does not depict the world; it behaves like it.
