Paris-based artist Armand Croisonnier transforms familiar faces and everyday objects into warped, uncanny portraits using a flatbed scanner instead of a camera. Born from a fear of losing and forgetting the people closest to him, his practice offers a profound meditation on the nature of memory itself.
Croisonnier describes his scanner as a 'memory vacuum', capturing fragments of daily life through glitches, stretched forms, and fractured compositions created as subjects move across its surface. The resulting images are not perfect reproductions but rather accidental distortions shaped by time and movement, creating a visual language that feels both familiar and unsettling.
Expanding his practice into sculpture, the artist translates these distorted scans into 3D printed objects, giving physical form to images that were never meant to exist beyond a flat surface. This transformation bridges the gap between digital and analog, creating tactile artifacts from what began as ephemeral digital glitches.
Perhaps the truest way to preserve our lives is not through perfect documentation, but through memories that embrace every distortion. Croisonnier's work suggests that it is in imperfection, not perfection, where the most honest forms of remembrance can be found. His scanner becomes not just a tool but a philosophical instrument, questioning how we choose to remember and what we choose to preserve.
Croisonnier describes his scanner as a 'memory vacuum', capturing fragments of daily life through glitches, stretched forms, and fractured compositions created as subjects move across its surface. The resulting images are not perfect reproductions but rather accidental distortions shaped by time and movement, creating a visual language that feels both familiar and unsettling.
Expanding his practice into sculpture, the artist translates these distorted scans into 3D printed objects, giving physical form to images that were never meant to exist beyond a flat surface. This transformation bridges the gap between digital and analog, creating tactile artifacts from what began as ephemeral digital glitches.
Perhaps the truest way to preserve our lives is not through perfect documentation, but through memories that embrace every distortion. Croisonnier's work suggests that it is in imperfection, not perfection, where the most honest forms of remembrance can be found. His scanner becomes not just a tool but a philosophical instrument, questioning how we choose to remember and what we choose to preserve.
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