“The scanner became my souvenir vacuum”: Armand Croisonnier on his squishy scanography archive
Paris-based multidisciplinary artist Armand Croisonnier employs scanography—a photographic technique utilizing flatbed scanners with genealogy tracing to 1960s Xerox art—to document and preserve people through distorted portraiture. Subjects undergo extreme compression and warping within the scanner’s constraints, fragmented and reassembled in the manner of exquisite corpse, yielding simultaneously grotesque and affectionate imagery tempered by absurdist humour. Drawing inspiration from Tim Burton’s visual grammar, Croisonnier frames himself as a puppeteer orchestrating uncanny transformations. His practice extends into sculptural territories via 3D printing, reversing the flattening process to materialize hyper-textured distortions. Conceived as an archive machine for memory preservation and ephemeral documentation, the scanner functions as both technical apparatus and philosophical instrument—reconciling attachment to the transient physical world (objects, relations, moments) through deliberate defamiliarization and playful formal intervention.
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