All of Echolalia's works were conceived as rose gardens and originally titled in French, Terrains des roses.  These were realised in numerous places, initially in London and then where I travelled, e.g., in Paris outside Notre Dame and Shetland, or where I worked, e.g., in the Art School at Margaret Street in Birmingham.

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Sound forms an integral part of Echolalia's work and often features in her Rose Gardens. The sound distorts, diminishes and amplifies hidden voices, incessantly calling out. Her Rose Gardens enclose us with a cacophony of sound emanating from all directions.

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There is an element of the secret in all of Echolalia's work. Her memorias are the most obviously secret, carried out anonymously and with no formal acknowledgement of their existence. She also makes flowers which contain secret spaces, and in fact, she uses flowers to the point of obsession, and the rose to the exclusion of all others. They are made from a variety of materials and often contain sound. They appear in multiples and frequently employ mirrors. Their arrangement in multiple groupings suggests formal rose gardens.

 

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