As debate rages about cultural appropriation, his photographs are a celebration of border-crossing creativity
Born in Morocco and raised in Britain, Hassan Hajjaj, a London-based photographer and furniture designer, wears his influences on his Ankara-print sleeve: the Maghreb mingles with London street style, hip hop with haute couture, religious tradition with modern consumerism. The riotously fun “La Caravane”, his first show in Britain in seven years and the flagship exhibition of the 1:54 Contemporary African Art Fair at Somerset House in London, fuses global pop culture with Islamic aesthetics.
Though “La Caravane” is a small show, featuring photographs, sculptures and video work from only two series, it’s enough to give a flavour of his work. “Kesh Angels” (2014) – the reference is to Hell’s, not Charlie – captures the women who zip through the technicoloured warrens of the bazaars in Marrakesh on their motorbikes. “My Rock Stars: Volume 2” is composed of nine portraits of up-and-coming musicians from Britain, the Caribbean and Africa. The symmetrical patterns found in the borders and backgrounds of these portraits are a modern spin on the traditional geometric designs of Islamic art. Their wooden frames, which double as shelves, invoke a very different period. They contain brightly packaged household products like stock cubes and fizzy drinks cans. It’s a tip of the hat to Andy Warhol, but while both artists put ordinary, everyday objects on the pedestal, there is nothing of Warhol’s cynicism in Hajjaj’s work. His art celebrates everyday life, and the talented artists who deserve more than 15 minutes of fame.
Hajjaj filmed these women for his documentary “Karima”, which premiered in 2015 at the Los Angeles County Museum of Art. As they speed to their next appointment in hi-viz hijabs and designer djellabas (you won’t see any black burqas here), these girl-biker gangs evoke comic-book superheroes. Of course, they’re not really gangsters. These women, many of whom are Hajjaj’s friends, earn their living as henna-tattoo artists and they drive to work every morning on their motorbikes. The colours, patterns and shapes of their outfits, which Hajjaj designed, reflect the vibrancy of North Africa and the influence of globalisation – some wear Nike headscarves and Louis Vuitton slippers. These photographs update the stereotypical image of Arab women handed down to Westerners by painters like Delacroix and Matisse, whose canvases are full of nudes reclining in harems or boudoirs. These images seem to say: why bother with a perfumed eunuch or a masticating camel when you can ride a monogrammed moped?