"OUR SEQUOIA GARDEN" - 2017 (23'30'')
My father was around 45 when he arrived in Paris. Nearly my age. He goes through a hard way and I always wished an other story for him. Then i saw him surrounded by his 9 grandchildren and this heal him. Heal me. Little, I saw my father writing constantly. Writing poems all day long. Poems in persian that I was not able to read. Never. But he recite them and even if i didn't get all the words i get the feeling. Always. The feelings.
My parents never rode a French book to me by night. A Persian one neither. The language was a fence. But "every single night for years, my father told me a story he just invented them, out of the blue.... The blue"
"NAVAZESH" - 2015 (5'34'')
Video by Hanieh Delecroix and Solmaz Panahi
"Navazesh" means bandaging in Persian. This video relates the history that connects both video makers.
The artistic tool used by both artists, the blue colour and the hair, symbolize the affect. A soothing bath and a gentle hand that strokes and calms. This maternal and sweet gesture repairs. The black hair that Solmaz Panahi weaves tight on the chadors fly in the wind and then everything becomes quiet after a blue bath.
The clinical psychologist Hanieh Delecroix, specialized in mother-child attachment, symbolizes tenderness through this blue bath. It has a therapeutic function. The bath is a maternal care that, according to the theory of attachment, can possibly make a child feel secure once(s) he’s an adult. The characters’ internal feeling goes through the sound envelope.
At the beginning of the video, noises are muffled, diffuse and unpleasant. But the sound changes and features the sweet knowing relationship between a mother and her daughter.
"PANSER JOYCE A MI-MAUX" - 2014 (11'38'')
Hanieh Delecroix and Sylvia Santana have known each other since their college days.
This recent collaboration led very quickly to making videos strongly influenced by surrealism. Between these two individuals working together, there exists a shared interest, that of questioning & searching. Their films are accentuated through processes of repetition and blurred images.
The dream-like thus taking over from trauma. The psychoanalytical experience of one person is put into images through the different view of another, and they invite us to discover an evocative and lyrical work.
Although aesthetics and affectation play a major role within their work, Hanieh and Sylvia also question life with its difficulties and the traces it leaves in the psyche and skin. Their message about life remains optimistic and affectionate.
The six films examine the written works of the Egyptian poet Joyce Mansour. Hanieh Delecroix became interested in the writings of Joyce Mansour because the question of creation and destruction is central in her work. This led her to question the notion of the image of the body's limitations and to elaborate on the Envelope (the skin) and Penetration (fragility of this skin when attacked). Sylvia Santana became interested in both the stories and the impressions left by the poet. Together, through these films, they suggest the representation for Joyce's mode of thought and writings. The films are developed with the function of "healing" the pains of the poet, and the images, always in a gesture of repair, remain both strong and affectionate. Each film is in three parts and symbolises neurotic triangulation. Joyce's texts are suggested in images. The disruption of reality and surrealism are key elements very much formed through iconicity : mental images, dreams and hallucinations.
"Dolman le malefique"
"Illusion de vol"
"Le bleu des fonds"
"NOUSHÉ DJAN" - 2014 (2'48'')
Video by Hanieh Delecroix and Sylvia Santana
This documentary video with surreal images is based on the cultural encounter. A meeting held over Iranian pastries, eaten by the three characters for the first time.
Two children and a grandmother around a table.
Nobody knows each other and a generation is missing.
Dishes parade, taste buds awaken and the link is created.
"YADEGARI" - 2014 (5'3'')
Video by Hanieh Delecroix and SylviaSantana
This film retraces the story of the two videographers, or even that of women. From the young girls they were, to the young women they are today, they remember the first time that they put on make-up to go out. Putting on make-up to be beautiful, to seduce, but to hide too, sometimes.
From this intimate gesture, to go towards the other or to protect oneself from the other. An affectionate and aesthetic gesture but which can also be done in distress. Two looks merge. That of a young 14 year old girl and that of a 40 year old woman who together still repeat the same movement from the inside of the eye outward. From the innermost to the outer. Close up images without sound to bring the viewer to the starkest intimacy.
To contemplate the image offered. The image only.