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Marius Perraud

@marius_perraud

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Plant-based artist/designer
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DESIGNED TO BE HEARD. Speakers are often designed around a single purpose: to deliver sound. But when technology, material, and craftsmanship become part of the design, the speaker can take on a presence of its own. From sculptural enclosures and industrial structures to unexpected materials and architectural silhouettes, these pieces treat sound as something that can be given a physical form. Not simply equipment for listening, but objects that shape the space around them — visually as much as acoustically. When sound becomes an object, the way we listen begins to change.
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왜곡된 기억까지 담아내는 스캐너 @armandc_ 파리를 기반으로 활동하는 아티스트 아르망 크루아소니에. 그는 카메라 대신 플랫베드 스캐너를 사용해 익숙한 얼굴과 일상의 사물들을 뒤틀리고 기묘한 초상으로 변형시킨다. 소중한 사람들을 잃거나, 그들을 잊게 될지도 모른다는 두려움에서 시작된 크루아소니에의 작업. 자신이 사용하는 스캐너를 ‘기억을 빨아들이는 진공청소기’라고 부르며, 피사체가 스캐너 위를 움직이는 동안 자연스럽게 발생하는 글리치, 늘어난 형태, 조각난 구성을 통해 일상의 파편들을 복사한다. 그는 작업을 조각으로 확장하며, 왜곡된 스캔 이미지를 3D 프린팅을 통해 입체적인 오브제로 구현하기까지. 우리가 살아온 시간을 가장 진실하게 담아내는 방법이란, 어쩌면 왜곡된 부분들까지도 그대로 품은 기억일지도 모르겠다. FOR MORE ARTICLES | @pap_magazine 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 treats the scanner as a ‘memory vacuum’, capturing fragments of daily life through glitches, stretched forms, and fractured compositions created as subjects move across its surface. Expanding his practice into sculpture, Croisonnier translates these distorted scans into 3D printed objects, giving physical form to images that were never meant to exist beyond a flat surface. Perhaps the truest way to preserve our lives is not through perfect documentation, but through memories that embrace every distortion. 📸 @armandc_
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🎂 Retour sur la Design Parade 2023 @villanoailles 🎂 J'ai eu la chance de réaliser une résidence de 9 mois au sein de l'Atelier de Recherche et Création du @mobiliernational @manufacturesnationales qui a permis la création du Cabinet Aux Mirages. Directement inspirés des meubles à secrets (le cabinet de Roentgens en est un bon exemple) et tout particulièrement des cabinets de la Renaissance, qui contiennent de petits théâtres à miroir en leurs centres pour cacher des tiroirs et moquer les perspectives. Je me suis également inspiré de différentes techniques d'illusionisme et de farce-et-attrapes, afin de travailler le miroir comme matière à spectacle: anamorphoses, kaléidoscope, mirascopes, faux-fond, reflets infinis... Le Cabinet Aux Mirages se construit comme un édifice miniature, avec ses escaliers, son salon, son jardin. Un ensemble de socles tournés en aluminium qui évoquent les montures qui soutiennent les préciosité des cabinets du XVIeme siecle. C'est un meuble assez technique dans sa construction, se déployant sur 360°, qui s'est vraiment inscrit dans une volonté de collaboration étroite avec les artisans des ateliers bois et métal de l'ARC. Bon nombre d'effets, comme un tiroir à parfum rotatifs par exemple, sont venus directement des envies des différents artisans qui ont travaillé sur ce projet, ce qui en fait un élément de mobilier collaboratif et profondément investi (ce qui me réjouit au plus haut point). À bientôt pour la suite de ce projet...
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The group show "Not in a silver casket cool with pearls" is currently on view at Galerie Florence Loewy through July 24. 𝗙𝗥 : Ce titre est emprunté au poème éponyme d’Edna St. Vincent Millay. […] Les pièces réunies pour cette exposition collective témoignent de multiples approches de l’ornement. Les éléments naturels et organiques y rencontrent des formes manufacturées, les objets usuels ou issus de la culture populaire se mêlent à des empreintes, des fragments ou des matières prélevées dans le vivant et le minéral. Le bijou devient alors un espace d’expérimentation où les matériaux changent de statut et où le précieux se loge dans les formes que prennent les matières plutôt que dans leur valeur intrinsèque. […] 𝗘𝗡: The title is taken from Edna St. Vincent Millay’s eponymous poem. […] The pieces brought together for this group show reflect multiple approaches to the ornament. Natural and organic elements meet manufactured objects, while everyday items or those drawn from popular culture blend with imprints, fragments, or materials taken from living things and minerals. Jewelry thus becomes a space for experimentation where materials shift in status and where preciousness resides in the forms the materials take rather than in their intrinsic value. […] 🔗 Full text by Timothée Villemur on our website florenceloewy.gallery 🗓️ 02.07 - 24.07.2026 📍Florence Loewy, 9/11 rue de Thorigny 75003 Paris All images © Aurélien Mole Exhibition vue with works by Marius Perraud, Plume Ribout Martini, Thibault Hazelzet, Unité Discrète, Silvana Mc Nulty, Sylvain Rieu-Piquet, Raphaël Everdeen, Pierre Aghaikian, Nina Zem, Oscar Gougenot, Heloïse Colrat, Jenifer Gelardo. The group show « Not in a silver casket cool with pearls » is currently on view at Galerie Florence Loewy through July 24. 𝗙𝗥 : Ce titre est emprunté au poème éponyme d’Edna St. Vincent Millay. […] Les pièces réunies pour cette exposition collective témoignent de multiples approches de l’ornement. Les éléments naturels et organiques y rencontrent des formes manufacturées, les objets usuels ou issus de la culture populaire se mêlent à des empreintes, des fragments ou des matières prélevées dans le vi
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Captain @baptiste__renault gathered a dream team composed by @marius_perraud L.R @thoueugenie and I, to customized and hand-aged 350 pairs of Adidas Stan Smith for a brand reactivation campaign by @thibautgrevet & @val_bauer To see the final sneakers worn by @yunglean2001 at the Adidas residency makes this project even more meaningful. A huge source of pride to have been part of such a special collaboration. 🫡✨
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👁️: In the midst of the fashion week hustle and bustle, adidas opened a residency for collaborators of different mediums to explore the Stan Smith as a canvas of artistic self expression. the residency was so calming and really allowed you to slow down. each room had a soothing atmosphere with its own thing going on for people to engage with. 🎥: slide 9 - @streetnightlive , slide 15 - @wegotnotaste
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STAN SMITH RESIDENCE 💚 Paris Moda Haftası’nın en ilginç mekânlarından biri, en az konuşanıydı. Saint Elisabeth’in odalarında hiçbir şey hızlanmıyor. Objeler arasında bırakılan mesafeler, gün boyunca değişen sesler ve birbirine karışan insanlar… Residence’i tanımlayan şey bunlardan yalnızca biri değil, aralarındaki ilişki. Belki de Stan Smith’in en radikal dönüşümü burada gerçekleşiyor. Üzerine sürekli yeni anlamlar yüklenmeden var olabilen birkaç tasarım nesnesinden biri olarak. Full editorial at wancjournal.com —————————————————————————————— STAN SMITH RESIDENCE 💚 One of the most compelling spaces at Paris Fashion Week was also one of the quietest. Inside the rooms of Saint Elisabeth, nothing rushes. The distance between objects, the shifting soundscape throughout the day, and the people moving through it… What defines the Residence is not any one of these elements, but the relationship between them. Perhaps this is where the Stan Smith undergoes its most radical transformation. Not by becoming something new, but by remaining one of the few design objects that can continue to exist without constantly being assigned new meanings. Full editorial at wancjournal.com
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/ OPENING / Not in a silver casket cool with pearls A group show including works by: Pierre Aghaikian, Héloïse Colrat, Angèle Damade, Raphaël Everdeen, Jennifer Gelardo, Oscar Gougenot, Thibault Hazelzet, Lou Masduraud, Silvana Mc Nulty, Marius Perraud, Manoela Prates, Plume Ribout Martini, Sylvain Rieu-Piquet, Yoon Sunwoo, Unité Discrète, Nina Zem Curated by Timothée Villemur + bespoke seats by Simon Chaouat on Thursday July 2 from 5pm to 8pm FR : «Ce titre est emprunté au poème éponyme d’Edna St. Vincent Millay. […] Les pièces réunies pour cette exposition collective témoignent de multiples approches de l’ornement. Les éléments naturels et organiques y rencontrent des formes manufacturées, les objets usuels ou issus de la culture populaire se mêlent à des empreintes, des fragments ou des matières prélevées dans le vivant et le minéral. Le bijou devient alors un espace d’expérimentation où les matériaux changent de statut et où le précieux se loge dans les formes que prennent les matières plutôt que dans leur valeur intrinsèque. […]» extrait du texte de Timothée Villemur EN: "The title is taken from Edna St. Vincent Millay’s eponymous poem. […] The pieces brought together for this group show reflect multiple approaches to the ornament. Natural and organic elements meet manufactured objects, while everyday items or those drawn from popular culture blend with imprints, fragments, or materials taken from living things and minerals. Jewelry thus becomes a space for experimentation where materials shift in status and where preciousness resides in the forms the materials take rather than in their intrinsic value. […]" excerpt from the text written by Timothée Villemur 🗓️ 02.07 - 24.07.2026 📍Florence Loewy, 9/11 rue de Thorigny 75003 Paris @pierreaghaikian @heloise__colrat @angeledamade @oscargougenot @thibaulthazelzet @lov.masdvravd @silvana_mcnulty_ @raphael_everdeen @pratesmanoela @marius_perraud @plume_ri @rieu_piquet @sunwoo_yoon_sunwoo @unite.discrete @nina.2z @ernest_simon_ernest @timotheevillemur @florenceloewybooks
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Coffre en collaboration avec @clementbataille Pour Lama Sabachthani, première exposition personnelle de @clement.bataille à @ds_galerie, nous avons imaginé ensemble un socle en profilés d'aluminium de réemploi pour porter un coffre peint par Clément. Le profilé aluminium répond au Valchromat noir, lui aussi de réemploi. À l'avant, une fleur en nickelé signée @marius_perraud fait office d'ornement et de poignée. 📍 Lama Sabachthani — DS Galerie, 2026 — Socle : profilés aluminium de réemploi Coffret : Valchromat de réemploi, peinture à l'huile Ornement & poignée : fleur nicklé, Marius Perraud — Crédit photo | Pauline Assathiany
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Unposted pieces pour Petrouchka de @bertrandmandico et pour la boss @_naonever_ @zoe.guedard assistée par @julestourniercom et @daximemavid le film Pétrouchka est une relecture expérimentale et visuellement baroque du ballet russe d'Igor Stravinsky
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Bronze, cuivre et laiton s’animent d’un souffle végétal. Feuilles, tiges et ronces s’entrelacent en courbes sculpturales, dans une esthétique organique où le métal semble pousser comme une nature précieuse. 1. 5. 10. 16. 20. 23 @conievallese @fendi @indiamahdavi @matterandshape 2. 11. 18. 21. @marius_perraud @paulemilieu @mobiliernational 3. 8. 15. @chriswolston @thefutureperfect 4. 7. 9. 13. 17. 19. 22. 24 @lalannecollectors @sothebys @neptune_papers @christiesparis @simon_porte_jacquemus 6. 14. @richardbaronio @les.collection 12. @henry_van_de_velde
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