Meet Romane Iskaria
Meet Romane Iskaria, a French photographer and visual artist whose narrative began in La Ciotat and has since evolved across borders to Brussels, where she currently lives and creates.
Biu Sargento, Settlement of Tambaba, Condé, Paraíba, Brazil, 2024.
Romane's practice, recognized by the TIFF 2024 Emerging Belgian Photography in collaboration with FOMU Antwerp and Futures Photography, combines the tactile and the transient, capturing the essence of communities and landscapes imbued with stories yet to be told. Her artistic residency in Brazil marks a significant phase in her career as she embarks on a multifaceted project to document the resilience and beauty of communities in northeastern Brazil through both photography and documentary film. Romane's approach to art is a dialogue and a dance between the documentary and the fictional, where the lens serves as both a mirror and a window to worlds unseen. Utilizing an eclectic mix of mediums—from photography to video, and sculpture to textiles—she crafts immersive experiences that invite the viewer to step into the narrative. Her work pays tribute to the silent stories of migration, exile, and the fluid identities of stateless communities, challenging the viewer to navigate the complex terrains of memory and belonging. Through projects like "Jaré," Romane revisits the collective memory of the Assyrian diaspora and transforms personal histories into a universal exploration of home and identity.
How does your heritage shape your artistic approach?
R.I: My heritage and my history have shaped my artistic approach. Through my experiences, encounters, and travel, I have constructed my outlook, which is always evolving. Through my photography, I carry out investigations and constantly question myself. I have always wanted to highlight others, and over time, my work has taken an increasingly committed turn to speak about the invisible communities that cross my life. My photography is not just aesthetic; I want to tell stories and elevate voices, talking about struggles.
How do you navigate the blend of personal and historical in your work?
R.I: The mix is necessary because I talk above all about the community in my work. These groups of individuals who touch me and who pass through my life tell me personal stories. These people trust me and talk to me about their connection to their origins, to their lands, to their cultures, to their struggles. Each story is different, but there are elements that come together and build a collective story. The stories and images will remain so that we do not forget them; they make history.
What has been a pivotal challenge in your career?
R.I: A turning point was questioning myself about my Assyrian origins from my grandparents, who came from Iran to live in Marseille, France. This project, originally based on a personal quest, became collective where I created the collective memory of a community through a photographic project. By carrying out this investigation with a documentary and fictional approach, I realized that this is always what I had wanted to do in my approach to photography. I knew how to express my own language by mixing portrait photographs, testimonies, archives, but also landscapes and objects. With this project, I made my first self-published book called "Assyrians" and printed 300 copies. I told myself that everything was possible and that I should not give up. I really want to do another book; the process is underway!
How do you ensure ethical storytelling in sensitive subjects?
R.I: I think every photographer has their own way of telling stories. In my process, I always take the time to meet people and talk a lot. A relationship of trust will be created, which will allow us to create an image together. I always need time to photograph my subjects. Sometimes it goes more or less quickly. But I think that to talk about sensitive subjects, you need to do a lot of information gathering beforehand, be kind, and listen carefully. There is always the question of: do I feel legitimate to talk about this subject? But I think that photographers have attractions towards subjects that inhabit them.
Can you share a pivotal insight or moment that has reshaped the way you approach your art?
R.I: I think a turning point was when I decided to express my own vision and trust my instincts. I have always done photography since I was 10 years old, but subsequently, through my artistic studies (Beaux Arts Marseille France and La Cambre photography school), I gradually developed a language that mixes photographs, videos, sounds, sculptures. This allows me to question the photographic medium and create immersive installations. Photography remains my primary medium, but I constantly want to question it. This was an important turning point in my artistic practice.
Is there a medium or technique you're eager to explore next?
R.I: I have always made films alongside my photographs. I think I want to improve myself further in this and work with a team. I really like creating immersive installations to exhibit my work. The video medium encourages me to question the image differently than with photography.
Can you describe a dream project you aspire to realize?
R.I: Currently, I am in the northeast of Brazil in artistic residency, working with several communities called Quilombos. They are Afro-Brazilian people from families of former slaves. These people have always fought to defend their cultures, their lands, and their connection to nature. I tell their stories of struggles. One of my dreams for the near future is to continue my project with these communities and make it grow. Because I think I have a lot of stories to tell with them.
How do you select the themes for your projects?
R.I: I operate a lot on instinct. When I have an idea, I don’t let go of it, and I do everything to make it come true. The themes that I address run through my life and build me. The Assyrian community was linked to the quest for my origins. I have been going to Brazil since I was a teenager because my father lives there. Places are very important to me.
In what way do you hope your work influences or changes viewer perceptions?
R.I: I try to show my sensitivity and my outlook on my perception of the world. Unconsciously, I also always wanted to mix a documentary approach with fiction. This in-between allows me to write a different reading of reality. My wish is that the spectator is projected into an elsewhere which questions him at the depths of his history.
What These Words Mean to Romane Iskaria
Immersive
Creating spaces where viewers lose themselves in the art, blending reality and imagination.
Narrative
Weaving stories that connect personal experiences with universal truths.
Introspective
Delving into the depths of self, exploring personal and collective consciousness.
Transcultural
Bridging cultures, merging diverse influences into a unified artistic expression.
Evocative
Stirring emotions, memories, and thoughts, inviting viewers to connect deeply with the work.
In her artistic journey, Romane Iskaria transcends the conventional boundaries of visual storytelling, blending personal and collective narratives with a deep sense of cultural introspection. Her body of work, an eloquent testament to the power of visual media, continues to resonate with audiences worldwide, fostering a deeper understanding and appreciation of the myriad experiences that shape our global society. With each exhibition and project, Romane solidifies her position as a pivotal voice in contemporary art. Her creations are seen and felt, compelling us to reflect on our own stories within the broader human saga. As she explores new frontiers in her practice, Romane's commitment to pushing the envelope of artistic expression promises to ignite conversations and inspire change, bridging the gap between the seen and the unseen, the spoken and the silent, in the ever-evolving narrative of human experience.
