Memory exists between preservation and distortion, shaped as much by loss as by recall. Lossless brings together Paris-based painters Gaspard Girard d’Albissin and Bastien Pery in a dialogue around photography, memory, and the unstable life of images. In both practices, photography serves as a point of departure: not as a neutral document, but as material to be transformed, filtered, and reimagined through painting. Their works hover between fidelity and disappearance, between what is kept intact and what inevitably slips away.

Working from imagery drawn from digital culture, fashion photography, and everyday observation, Girard d’Albissin transforms familiar scenes into heightened psychological tableaux. Surfaces shimmer with reflective light and meticulous detail, where polished garments, interiors, or fleeting gestures acquire the symbolic weight of contemporary vanitas. His paintings operate at the threshold between the tactile and the virtual: rendered with classical precision yet rooted in the circulation of photographic images online, they suggest memory as something staged, edited, and endlessly replayed. The ordinary becomes theatrical, suspended in a moment that feels both immediate and already nostalgic.

By contrast, Bastien Pery approaches memory through distance and erosion. Beginning with family photographs and personal archives, he subjects images to algorithmic manipulation before translating them into painting. Interiors emerge as softened environments where light dissolves form and time appears unsettled. Figures rarely assert themselves; instead, rooms, shadows, and atmospheres carry emotional residue. Pery’s works evoke recollection as an unstable process — less a fixed record than a shifting mirage in which multiple histories coexist.

Presented together, the artists propose two complementary conditions of memory, both rooted in the photographic image: one sharpened and hyper-present, the other diffused and fading. If Girard d’Albissin’s paintings amplify the seductive clarity of contemporary imagery, Pery’s works reveal what remains after clarity dissolves. Through processes of selection, repetition, and erasure, their works reveal how images persist not through fidelity, but through transformation. In this sense, Lossless becomes less a technical condition than a question.

The exhibition’s title, Lossless, borrows from digital compression terminology describing a file preserved without degradation — an ideal state that remains ultimately unattainable in human experience. Memory, whether personal or collective, is rewritten through looking, remembering, omitting, and forgetting. If the digital image promises perfect preservation, the works in Lossless ask a different question: what if meaning emerges precisely through what is altered, repeated, or lost?