The making of Mostly cloudy 4 involves Mimosa Echard attaching a layer of anti-radiation fabric onto a stretched canvas, such that the chemical reaction between the two materials wears down the canvas to reveal an oxidised copper colour, filtered through a layer made of rainbow organza. Despite the anti-radiation fabric’s supposed protective qualities in shielding the user from harmful radiation, such as from our phones and computers, here it indisputably brings about distress, as the frame of acidic green seeps into the layers below. Yet, it is exactly the interactions that the fabric has with the other materials that generate new substances possibly circumventing the current perceptible limits of our technologically abundant world, stimulating our desire for surplus but never actually satiating it. In this way, Echard utilises such processes of mediation to seek out new ways to address the various intersecting issues brought about from people’s biological compulsions and the current technological landscape.