Morocco/United Kingdom
Micaela Houtkin
Hassan Hajjaj’s multicultural upbringing has informed his colorful art. Born in 1961 in Larache, a small fishing town in Morocco, he moved with his family to London in 1973. This adjustment was undoubtedly difficult for the young Hajjaj, but today he is a transcultural artist who has absorbed both of his cultures and embraces being what he refers to as noss noss, which means half-half. 1 Prior to his career as an artist, Hajjaj worked as a music promoter for DJs, clubs, and bands, in the retail and restaurant industry, and as a fashion, furniture, and interior designer.
Metallic Lambda print on 3mm white dibond in walnut frame with Le Phare du Cap Bon harissa tins
52.4 x 37 in. (133 x 94 cm)
Courtesy of Hassan Hajjaj and Taymour Grahne Gallery, New York, NY
Hajjaj’s work often reflects a desire to break down the viewer’s preconceptions of the Maghreb; his series ’Kesh Angels (’Kesh is an abbreviation of Marrakesh) is representative of his pop fashion- infused work. This series portrays women on motorcycles in Marrakesh—a fairly commonplace sight. In Brown Eyes, a frame made of harissa 2 tins surrounds a woman who gazes brazenly down on the viewer. The repetition of the colorful tins mirrors the attractive visual displays in a typical Moroccan marketplace. The subject is veiled, but she is wearing a brightly-colored djallaba (a long, loose-fitting hooded cloak worn in North Africa). Featuring a bold red and white geometric pattern, the garment was made by the artist from the scarves of the Casablanca soccer team, Wyded. The woman poses informally upon a motorcycle, challenging preconceptions of the reserved Muslim woman. Of his work Hajjaj says, “I wanted to show the world what I saw of the country and its people – the energy, the attitude; the inventiveness and glamour of street fashion; the fantastic graphics on everyday objects and products; people’s happy outlook and strength of character.” 3 The title also helps the viewer to navigate the work: after one has the opportunity to absorb all the color, the eye is led back to the woman’s powerful gaze and the viewer can feel the spirit and dynamism of the culture.