“She gleans material culture and the surface of things—compelled by materials and their economies, chemicals and their properties, images and their histories, technologies and their translations, paranoia and its erotic reasonings—for the information of their transformations, that which slowly emerges, corroded or in bloom, in anxiety or in ecstasy, in eros or its advertisements.”—Quinn LatimerMimosa Echard draws from biological research, the history of experimental cinema, and her personal biography to create works that intertwine sexuality, perception, and artifice. Working across diverse media—from sculpture to installation and video games—her practice is shaped by continuous and often contradictory processes of absorption, accumulation, and circulation, which she traces across domains as varied as popular culture, metabolic systems, and electromagnetic phenomena. Attentive to the invisible—or latent—potential of her materials, Echard’s assemblages and installations probe the limits of language in apprehending her objects, opening space for unprecedented and non-normative associations. Mimosa Echard: Lies is the first monograph dedicated to the artist’s work, co-published by Mousse Publishing and Galerie Chantal Crousel, with the support of gallery Martina Simeti. The book is also the recipient of the 2024 “soutien à l’édition” from the Cnap – Centre national des arts plastiques. The volume includes previously unpublished texts that invite readers to engage deeply, and from multiple perspectives, with Echard’s practice. Essays by Amelia Groom and Devrim Bayar provide historical, critical, and theoretical insights; Daphné B. contributes a poetic introduction; and a dialogue between Mimosa Echard and Dominique Gonzalez-Foerster enriches the book with an artist-to-artist exchange. The volume also features a reprint of Quinn Latimer’s essay on Echard, originally published on TextWork, the editorial platform of the Fondation Pernod Ricard. Graphic designer Julie Peeters collaborated closely with Echard on the catalogue’s design. Images accompanying the texts and themes developed by the authors are complemented by a series of photographs from the artist’s personal archives—film-based documentation of her studio and exhibitions, published here for the first time. This opening section offers an intimate perspective on the processes of making and exhibiting. It is followed by a second part, which presents, in an inventory format, the “official” views of the exhibitions in their final form.