A true hybrid, Yves Geleyn was brought into the world via the love of a German lady and a French man in Reading, England (of all forgotten places). After this unfortunate false start in life and the fact that burning wax crayons and making hand paintings was his most loathed past time activity, our dear little Yves landed in Paris, the capital of culture. Here, surrounded by the delights of a rich artistic history, he embarked upon a flourishing early career in….rugby! Position: Lock no 04. Well, he is six foot two! Obviously the rigorous and strict education of playing with the oval ball had him standing in good stead; and after a brief moment when he set his sights on becoming a French chef extraordinaire, he finally took on the less fattening option of becoming a graphic designer.
Yves studied art in Paris and started as a freelance graphic designer, mainly doing print, poster designs, book and CD covers, but also noticeably a few installations and signage for large museums and other cultural establishments. But it is with animation that Yves fully began expressing himself. Soot Giant, a story of a long-legged giant that wanders the street at dusk, was one of his first animated creations that completely turned him towards motion.
Since then he continues developing his style on other projects like Kotori (a fabric Haïku), Dandelions (an ode to nature and rebirth), and Zune (a funny tale about the search for the greatest Mother’s Day gift). But it is very recently, with La Gaîté Lyrique, that Yves pushed his imagination even further. This lyrical mystery piece with enigmatic weightless forms and a bestiary of magic creatures, gives a new dimension to his work.
Each of Yves’ projects shows us his sensibility, his delicacy and poetry. His references are numerous: Japan, nature, animals, paintings and especially birds (which are present in all of his productions). Yves is used to saying he is not a director but a storyteller; for story and characters are the most important things to him.
With a love of mixing various techniques, Yves has found that the technique is always only there to serve the story. Textures, colors, forms, patterns, illustration, CG, paper cutouts and traditional animation are all his giant toolbox that he likes to unpack and use, as the project develops and grows. Yves constantly surprises us with his new projects, all a delightful expression of this true hybrid in motion.
“Colosse, a wood tale”.
Meet Colosse, Yves Geleyn’s sweet 30-foot child. Now, Colosse isn’t your ordinary child…he just so happens to be a very tall, wood robot puppet who doesn’t know his own strength, much less what his strings are up to.In this short film, Yves explores his child obsession with puppets and all things robotic.
Thoughts from the director:
“I’m a huge fan of Jim Henson’s work. I have always wanted to work with puppets but never had the chance to do so before. I’m also a huge fan of robots; they were in all my childhood movies, cartoons, and comics. The robot from Paul Grimault’s The King And The Mockingbird; Brad Bird’s Iron Giant; and Goldorak, a Japanese cartoon, were inspirations for me. It was these two passions of puppetry and robots that drove me to create this short film, with a bird in it of course (can’t lose my bad habits).”