You May Touch the Fence, 2025
In Echo’s most recent works, she extends the idea of domestication beyond the sculptural object to the viewer’s own body. She constructs physical fences that function as both sculptural and curatorial devices. These fences choreograph movement through the exhibition space—guiding, constraining, and taming the act of looking itself.
Titled You May Touch the Fence, the installation begins with a directory sign bearing the same phrase. The fences partition the space, compelling visitors to crawl, bend, or peer through openings to glimpse the sculptures within. Through these gestures, the body is choreographed into acts of obedience and curiosity. The fence becomes more than a boundary; it operates as a curatorial agent that dictates vision and movement. The decision to enter, to cross, or to remain outside becomes an act of voluntary domestication—an acknowledgment that power can seduce as much as it restrains.
-
Birdsong
2025
Alpaca hair, Indonesian birdcage, glass, pine, resin
28 × 11 × 7 in (71.12 × 27.94 × 17.78 cm)
Lick
2025
5 × 5 × 5.5 in (12.7 × 12.7 × 13.97 cm)
Antique inkwell, sand, Himalayan pink salt
Sliced
2025
Wall part 40 × 8 × 5 in (101.6 × 20.32 × 12.7 cm); floor part variable, distance from wall ≈ 38 in (≈ 96.52 cm), making a circle of 18 × 18 in (45.72 × 45.72 cm)
Raw wool, pine, oak, resin
Binding
2025
Hanging part: 54 × 4 × 4 in (137.16 × 10.16 × 10.16 cm); floor part: 8 × 6 × 3 in (20.32 × 15.24 × 7.62 cm)
Pine, resin, brass inkwell, epoxy clay, papier-mâché, sand
Seedbed
2025
Size variable, span around 25 × 20 × 25 in (63.5 × 50.8 × 63.5 cm)
Pine, brass fire tongs, sawdust, sand
The sign posted at the front of the installation