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The

Artist

Matthieu

Lives and Works in
Lausanne/Paris
Matthieu Croizier (b. 1994) is a Franco-Swiss photographer working between Lausanne and Paris. His work focuses on the intimate, queer issues, portraiture and the representation of the human body. Using fragments of reality that he decontextualises, he attempts to create new stories, like parallel realities in which things and bodies are no longer condemned to be as they are defined. In 2021 he was named British Journal of Photography's Ones to Watch 2021, and selected among the Futures Talents 2021. Also a laureate of Paris Photo's Carte Blanche Students 2020. He recently exhibited at institutions such as Kunsthalle Trier, the Centre d’Art Contemporain Yverdon-les-Bains, and the Swiss Design Awards 2023. His work has been featured in numerous group shows and festivals including in Athens, Milan, Paris, London, Braga, and Guadalajara. In March 2024, he published his first book, "Everything goes dark a little further down" with Mörel Books. Beyond his personal projects, he undertakes commissions for clients comprising M le Monde, Esquire Italy, Zeit Magazine, Art Basel, On Running, Salomon, and Les Inrockuptibles.
Projects
2021

Everything Goes Dark a Little Further Down

“ The images in Everything goes dark a little further down are weird and playfully, deliberately perverse. An array of body parts are seen in fragments throughout – torsos appear without arms, feet crush heads, bodies contort, faces melt, brains explode. In one self-portrait, the artist has manipulated the photograph to make his head appear severed but alive, his eyes still alert and staring into the lens. In another, he holds a mannequin, kissing it, and in it that act creates his own, disturbed version of a mirror image – one side flesh and blood, the other just soulless plastic. Elsewhere, Croizier draws a grid across his body in thick, black marker, echoing pictures from the medical and pseudo-scientific archives he spent time devouring for research. “The body is primordial in this work,” he says. “Our own body is the most ordinary thing to each of us, and yet the most secret. Bodies are beautiful, unique and political. In reference to anatomical iconography, I try to deconstruct normative representations of the body, with a view of asking questions such as ‘to what extent is a body a body?’ and ‘how can it free itself from the norms that constrain it?’” “To me,” he muses, “this work is a celebration of the renunciation of being normal.” It’s a project for anyone who's ever had the guts to truly, monstrously, fabulously, be themselves. Extract from a text written by Joanna L. Cressell, published in Lens Culture, August 2021
2025

That Moment When You Can See The Crack In The World

“‘A love letter to the abnormal, a farewell to the norm’, Matthieu Croizier’s work sets bodies free from the way they are supposed to look like. He tilts and twists paradigms to shape a world where the horizon’s line isn’t straight, and flesh is not condemned to order. The words ‘beauty’ and ‘ugliness’ cease to mean much, monstrosity is reclaimed as tender and spectacular, queerness is a magical and constant act of mutation. If the images that we are used to seeing define the things we’re able to imagine, That Moment Where You Can See The Crack In The World suddenly expands the coordinates of what we feel is possible. Reality has opened up, free and in flux.” Text by PhMuseum’s visual editor Camilla Marrese In my work, I generally seek to evoke the tension between opposing notions, such as beauty and ugliness, fascination and repulsion, the ordinary and the spectacular... "That moment when you can see the crack in the world" is an ongoing personal project on which I have been working for a year. Using the body as a raw material - my own or that of people close to me - I try to create the spectacular from the simple things around me. The photographs depict an extraordinary act of metamorphosis, where fragments are melded together to create something new. Reality is being reshaped, and things are not condemned to be as they have been defined. What is beautiful, what is ugly? For me, beauty is queer. It's something we can't grasp, in constant mutation, something magical we can't pin down. It is bizarre, confusing, ugly, fabulous, fascinating and yet sometimes considered repulsive. Fascinating, the reappropriation of certain stigmatising terms such as "freak", "queer" or "faggot", as a form of resistance, is what inspires and nourishes my work, through which I decide to reclaim my own monstrosity. Like a love letter to the abnormal, a farewell to the norm.
2025

We Are All Gay Cyborgs

"The photographs of Matthieu Croizier portray desire, love, and excessive bodies on the verge of monstrosity. His self-portraits and photographs of partners examine various aspects of sexuality, presented here as an experimental vehicle of self-discovery and liberation. Particularly important is a detachment from traditional ideas concerning roles and beauty, which the artist's work seeks to question and to deconstruct. The series We Are All Gay Cyborgs (2024) is dedicated to various aspects of queer eroticism and uses elements from pop and subculture to depict new forms of desire and powerlessness. Individual body parts are often the focus of the intensely colourful images and lend a physical dimension to the act of viewing: a tongue touches a flower stem, a mouth closes over a plump fruit, a naked lover turns his back to the camera. Croizier breaks with the ordinary clichés and traditional roles of gay culture by staging hairy, deformed, full-figured bodies as erotic and autonomous. Queer desire is not portrayed in a fetishised way, but rather brought into focus with lust and playfulness." Text written by Jana Johanna Haeckel for the exhition Love, Maybe – Intimacy and Desire in Contemporary Art at Alexander Tutsek Stiftung, Munich.
Matthieu
was nominated by
British Journal of Photography
in
2021
Show all projects
Each year every member of the FUTURES European Photography Platform nominates a set of artists and projects to become part of the FUTURES network.

London-based Sophie Gladstone produces refreshingly honest work about her pursuit of cultural capital, through considered still lifes and self-portraits. She draws attention to society’s obsession with performance and perception of success, honing in on details of daily rituals and consumerism. Gladstone curates a duality in her aesthetic, which many might recognise and relate to in appreciation or distaste.

Studies in Huddersfield brought Silvana Trevale to the UK from Venezuela, where she was born and raised. Though the photographer has already seen notable success with her commercial work, her personal projects deserve equal recognition. Her ongoing series, Venezuelan Youth, captures the younger generation of her home country with a warmth that contrasts the social and political crisis currently unfolding there.

Billy Barraclough is a recent graduate from the MA photography course at University of the West of England, Bristol. In his tender black and white documentary projects, he captures moments of quiet contemplation with captivating sensitivity. The fact that he approaches his practice from a personal perspective is a token of his understanding of human connection and communication.

Another recent graduate, Tayo Adekunle completed a BA at Edinburgh College of Art this year. Placing herself in front of the camera lens, she directly confronts
photography’s dark history by recreating 19th century images of sensationalised Black bodies. Her work is as much an interrogation of dehumanisation, as a personal exploration of her culture, ancestry and inherited trauma.

Swiss photographer Matthieu Croizier completes our 2021 nominations. Taking inspiration from a variety of sources, which ranges from 19th century medical archives to David Lynch’s 1977 horror sci-fi Eraserhead, he uses his lens to explore queerness and his experience of it. For Croizier, photography gives him the space to understand his identity, the language of the queer community, and all the superficial social constructs that have been connected to them over time. It is an act of self-expression – literally and figuratively.