Hassan Hajjaj on Art, Colour, Morocco,
Kesh Angels, Rock Stars, His Journey and Bringing People Together
Stepping into the exhibition La Caravane at Somerset House you are entering Hassan Hajjaj's vibrant world and going on a journey with him through his art.
Walking through the rooms of colour and energy, his friends, artists, musicians and a variety of characters adorn the artist's work, and the viewer is invited to join the festivities through his visual documentation that comes with a duality of being aesthetically beautiful and at the same time making us think about an array of issues from consumerism to identity.
Hassan Hajjaj shows a perspective of Morocco enchanting us with colour and music, showcasing a variety of subcultures intertwined and coming together through the power of art. His personal journey is an inspiration, a true soul of an artist.
Join the magical vibes of Hassan Hajjaj's work and the ongoing conversation of fusing art, design and fashion together and head to Somerset House to fill the winter sky with tints of Morocco.
As we sat down for the interview below, it was clear that Hassan Hajjaj cares deeply about his friends and bringing positivity and brightness to life.
Rider, by ©Hassan Hajjaj, courtesy of Vigo Gallery
You grew up in Larache Morroco, how was your childhood there?
My childhood was a happy memory, we didn’t have much money, but all I remember was bright sunshine, the sea, friends , football, going to the village in the summer for three months where my grandma was from, and where there was no water, no electricity, no toilet, so you had to get involved with everything from the day you got there. Now thinking about it, that has probably come out in my work, we didn’t have any toys or games, so everything we did we had to create in order to have toys or we would spend three days on the beach picking seaweed to sell it to get a bit of money to go see a movie. So it was a happy memory.
So you were probably a bit of an artist without realising it, you were creating from then
Well I would say, it’s survival and (yes) being creative
My childhood was a happy memory, we didn’t have much money, but all I remember was bright sunshine, the sea, friends , football, going to the village in the summer for three months where my grandma was from, and where there was no water, no electricity, no toilet, so you had to get involved with everything from the day you got there. Now thinking about it, that has probably come out in my work, we didn’t have any toys or games, so everything we did we had to create in order to have toys or we would spend three days on the beach picking seaweed to sell it to get a bit of money to go see a movie. So it was a happy memory.
So you were probably a bit of an artist without realising it, you were creating from then
Well I would say, it’s survival and (yes) being creative
Also there were a lot of women around you, do you think that had an impact on your work later on?
It’s funny because someone else asked me this a couple of days ago and I didn’t really think about it, but probably so, because from when I was born, well until the age of 14, I grew up in a house with my mum, my grandma, my aunty and my three sisters, so I was right in the middle, one would spoil me, one would hit me, one would be in the middle, and my youngest would probably say that I would beat them up or something. So it was probably from that definitely.
It’s funny because someone else asked me this a couple of days ago and I didn’t really think about it, but probably so, because from when I was born, well until the age of 14, I grew up in a house with my mum, my grandma, my aunty and my three sisters, so I was right in the middle, one would spoil me, one would hit me, one would be in the middle, and my youngest would probably say that I would beat them up or something. So it was probably from that definitely.
Kesh Angels, 2010 by ©Hassan Hajjaj, courtesy of Vigo Gallery
You then moved to London in your teens, how did London shape you, what did you feel about the city?
Well London in the beginning was difficult but then you know at that stage in your life you can adapt quicker and so you have to sort of find yourself within a new environment and new friends and a new culture, I think within a couple of years, three years, it sort of started to happen, and i became part of the London scene I suppose.
Well London in the beginning was difficult but then you know at that stage in your life you can adapt quicker and so you have to sort of find yourself within a new environment and new friends and a new culture, I think within a couple of years, three years, it sort of started to happen, and i became part of the London scene I suppose.
Did you start in music?
No I didn’t start in music. I came out of school with zero qualifications. I left school at 15.
So from there I tried a few jobs working as a gardener in a timber yard, in Woolworth, and it was like three months here, a week there, stuff like that, and it just wasn’t something I wanted to do. This one time, it was quite tough I didn’t have any money and I remember I had an interview for a job and I had enough money to get there by bus but I didn’t have money to get back, but I thought you know if I go there, you never know. It was a job for packing hats and I dressed up for the interview and went there, but when I had the interview, I knew I wouldn’t get the job and had to walk back home, which was about an hour’s walk and in that hour’s walk, I had to reassess what I wanted to do. And then, well, becoming unemployed for 6 years and within that 6 years I started to do little parties and stuff like that to survive.
No I didn’t start in music. I came out of school with zero qualifications. I left school at 15.
So from there I tried a few jobs working as a gardener in a timber yard, in Woolworth, and it was like three months here, a week there, stuff like that, and it just wasn’t something I wanted to do. This one time, it was quite tough I didn’t have any money and I remember I had an interview for a job and I had enough money to get there by bus but I didn’t have money to get back, but I thought you know if I go there, you never know. It was a job for packing hats and I dressed up for the interview and went there, but when I had the interview, I knew I wouldn’t get the job and had to walk back home, which was about an hour’s walk and in that hour’s walk, I had to reassess what I wanted to do. And then, well, becoming unemployed for 6 years and within that 6 years I started to do little parties and stuff like that to survive.
So that hour’s walk sort of cleared your path in a way
It made me realise that I am not fitting in with this kind of stuff, you know with the jobs i was seeking, I wanted to work but it wasn’t what I wanted to do and it wasn’t easy to get a job, and the jobs I was getting were like dead brain jobs, nothing challenging.
And you had a lot of internal creativity
Probably, I think I did
It made me realise that I am not fitting in with this kind of stuff, you know with the jobs i was seeking, I wanted to work but it wasn’t what I wanted to do and it wasn’t easy to get a job, and the jobs I was getting were like dead brain jobs, nothing challenging.
And you had a lot of internal creativity
Probably, I think I did
Odd 1 Out, 2000 by ©Hassan Hajjaj, courtesy of Vigo Gallery
Motobecane, 2009 by ©Hassan Hajjaj, courtesy of Vigo Gallery
What attracted you to fashion? Is it the sort of escapism it can have, or is it a good tool to use to express one's identity? What was it that drew you first to fashion?
I started a shop in 1984 selling my friend’s designs which I suppose was street wear, and at that time I was young, I was into clothes like everybody when you are younger and my friends were the same, so I opened up this small shop in the backstreets of Covent Garden.
There were stuff from my friends that were coming out of college in London and I was bringing stuff from New York and after a couple of years of opening I started to have ideas to make things under the name of the shop which became the label, so that’s really the influences.
I started a shop in 1984 selling my friend’s designs which I suppose was street wear, and at that time I was young, I was into clothes like everybody when you are younger and my friends were the same, so I opened up this small shop in the backstreets of Covent Garden.
There were stuff from my friends that were coming out of college in London and I was bringing stuff from New York and after a couple of years of opening I started to have ideas to make things under the name of the shop which became the label, so that’s really the influences.
The label called Real Authentic People
Real Artistic People
Well we wrote a whole list and Real Authentic People was mentioned, but we went with Real Artistic People.
Real Artistic People
Well we wrote a whole list and Real Authentic People was mentioned, but we went with Real Artistic People.
Hats Cabinet, 2017 by ©Hassan Hajjaj, courtesy of Vigo Gallery
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Socks Cabinet, 2017 by ©Hassan Hajjaj, courtesy of Vigo Gallery
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In your work there is this duality, layers of concepts and notions, whether on consumerism, gender or identity, and as well they are really aesthetically beautiful, do you play with that, does it come naturally or is it a thought process you go through?
It’s probably all of that. There’s a part of it that comes naturally, there’s the thought of it, and also I am coming from that kind of thing, where I had the shop and I had to do the windows and displays, buy for the shop from different labels to make something, create from different aspects one look for example, so I think in my work it’s probably bits of all of that coming together.
It’s probably all of that. There’s a part of it that comes naturally, there’s the thought of it, and also I am coming from that kind of thing, where I had the shop and I had to do the windows and displays, buy for the shop from different labels to make something, create from different aspects one look for example, so I think in my work it’s probably bits of all of that coming together.
Khadija, 2010 by ©Hassan Hajjaj, courtesy of Vigo Gallery
Mimz, 2013 by ©Hassan Hajjaj, courtesy of Vigo Gallery
Do you feel like in your artworks, in the series Kesh Angels, that you are reclaiming power for women, for women from Morroco or shinning a different light, a different perspective?
I think definitely trying to highlight something for Morocco that exists and also to show the power of women in Morocco in that kind of way. The work, especially in social media kind of went off and I was shocked how far it went with social media, and I am proud that it has that element of strength for the women because that is important, but you know obviously the women I was taking pictures of, they already had a certain strength for me to take the pictures of them. I was thinking these are amazing women that I am working with. They have the strength already.
You are breaking down barriers of any preconceived ideas of what Morocco has to offer, and you are showcasing notions and ideas, and through your eyes we are seeing things, seeing a different narrative
I think growing up in London you understand how different cultures are thought of, so I am playing on this, and I am trying to put this kind of cinematic images and let the viewer decide what they think of that image and it could be half-half, somebody will read it in a positive way and others may read it negatively, but that’s the viewer. For me I am trying to play with this idea.
I think definitely trying to highlight something for Morocco that exists and also to show the power of women in Morocco in that kind of way. The work, especially in social media kind of went off and I was shocked how far it went with social media, and I am proud that it has that element of strength for the women because that is important, but you know obviously the women I was taking pictures of, they already had a certain strength for me to take the pictures of them. I was thinking these are amazing women that I am working with. They have the strength already.
You are breaking down barriers of any preconceived ideas of what Morocco has to offer, and you are showcasing notions and ideas, and through your eyes we are seeing things, seeing a different narrative
I think growing up in London you understand how different cultures are thought of, so I am playing on this, and I am trying to put this kind of cinematic images and let the viewer decide what they think of that image and it could be half-half, somebody will read it in a positive way and others may read it negatively, but that’s the viewer. For me I am trying to play with this idea.
LKSour, 2008 by ©Hassan Hajjaj, courtesy of Vigo Gallery
H.R.H Alia, 2016 by ©Hassan Hajjaj, courtesy of Vigo Gallery
Romancia, 2010 by ©Hassan Hajjaj, courtesy of Vigo Gallery
When I was looking at the images from your artwork series Rock Stars, I felt like you were saying we are all rock stars, your friends are rock stars. Was that a part of the message that was behind the series?
Yes, my Rock Stars were about my friends around me.
Like when you think of a rock star in my eyes and in my friend’s eyes, it would probably be a guy with a leather jacket, probably white, long hair, dark sunglasses and a guitar. You know that’s kind of the ultimate rock star, so I wanted to use that name and give and take it back to my friends and make these characters as my Rock Stars. they are sort of not main stream, they are the underdogs, they are the real artists, they kind of live with what they have. So wether it’s a singer or a man belly dancer, they are living that life, even, they are surviving.
It is also about documenting these friends, like myself they have been moved from one country to the other, so it’s like documenting them at that point in time and keeping that moment and hopefully with time the images will become even stronger. Also having those images is like I’m there on a journey with these friends.
Yes, my Rock Stars were about my friends around me.
Like when you think of a rock star in my eyes and in my friend’s eyes, it would probably be a guy with a leather jacket, probably white, long hair, dark sunglasses and a guitar. You know that’s kind of the ultimate rock star, so I wanted to use that name and give and take it back to my friends and make these characters as my Rock Stars. they are sort of not main stream, they are the underdogs, they are the real artists, they kind of live with what they have. So wether it’s a singer or a man belly dancer, they are living that life, even, they are surviving.
It is also about documenting these friends, like myself they have been moved from one country to the other, so it’s like documenting them at that point in time and keeping that moment and hopefully with time the images will become even stronger. Also having those images is like I’m there on a journey with these friends.
Bumi Sittin’, 2013 by ©Hassan Hajjaj, courtesy of Vigo Gallery
Photography can be a powerful tool
It’s about highlighting and showcasing people, it's really about them, and in a sense, the more images, the more power to all of us.
The work also gives you an idea of what kind of people I am attracted to and influences me, who has inspired and helped me out, so it’s really part of that as well.
It’s about highlighting and showcasing people, it's really about them, and in a sense, the more images, the more power to all of us.
The work also gives you an idea of what kind of people I am attracted to and influences me, who has inspired and helped me out, so it’s really part of that as well.
 African Boy Sittin’, 2015 by ©Hassan Hajjaj, courtesy of Vigo Gallery
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Ayanna, 2013 by ©Hassan Hajjaj, courtesy of Vigo Gallery
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So do you think Art has power?
Can It bring people together, unite peole? I mean clearly your work does
It’s funny years ago I would have thought this was a poncey question, but I think definitely, yes definitely it brings people together, even in the last few days, every time I walk into the exhibition space, I’ve seen every type of person walk in.
There is some strength in art, and this show seems to be a happy and uplifting one, that means it is touching someone, not just one type of person, so there is power in the arts, definitely.
There is a dialogue, there’s questioning, there are a lot of things, art can really touch a nerve.
It’s like music, it doesn’t have any barriers.
Can It bring people together, unite peole? I mean clearly your work does
It’s funny years ago I would have thought this was a poncey question, but I think definitely, yes definitely it brings people together, even in the last few days, every time I walk into the exhibition space, I’ve seen every type of person walk in.
There is some strength in art, and this show seems to be a happy and uplifting one, that means it is touching someone, not just one type of person, so there is power in the arts, definitely.
There is a dialogue, there’s questioning, there are a lot of things, art can really touch a nerve.
It’s like music, it doesn’t have any barriers.
It’s a powerful and vibrant show and i could just sit on that couch listening to the music, it's soothing
Actually the other day someone said all that is missing is mint tea
Actually the other day someone said all that is missing is mint tea
My Rock Stars: Vol 2, 2017 Digital file, 9 frames, 9 screens and technical backup display system by ©Hassan Hajjaj, courtesy of Vigo Gallery
Since you mention mint tea, I know you do a lot of interior design, café's, bars, does that come from you wanting to bring people together in a setting, food and café's they can unite people, it feels like you want people to hang out
Yes definitely because I am not coming from a classic art world or have studied art.
For one in Morocco, we have this thing about inviting people, welcoming people, and it’s about food and so on.
And then also for me when I was doing lots of parties, it was about getting the space and then dressing it up with nice music and nice lighting and putting people together. So that’s always been in my blood, so when I started doing the work it happened naturally and the idea was to have the people part it, so it’s not just about someone coming in and then there’s a distance between the person and the work. It is more like if somebody is sitting on the couch, then they are touching a piece of work, whilst sitting there you are close to lots of other things like graphics, different textures, so it is definitely a part of what I do.
Yes definitely because I am not coming from a classic art world or have studied art.
For one in Morocco, we have this thing about inviting people, welcoming people, and it’s about food and so on.
And then also for me when I was doing lots of parties, it was about getting the space and then dressing it up with nice music and nice lighting and putting people together. So that’s always been in my blood, so when I started doing the work it happened naturally and the idea was to have the people part it, so it’s not just about someone coming in and then there’s a distance between the person and the work. It is more like if somebody is sitting on the couch, then they are touching a piece of work, whilst sitting there you are close to lots of other things like graphics, different textures, so it is definitely a part of what I do.
And you work with people from Morocco, artisans, and help other artists through that, and in a way it can help revive the economy in Morocco and here in the UK help with the next generation of artists
Designing gives me a great tool to work with local artisans, which is great, because you learn and you learn the stories, so it in not a lonely space like an artist where you are painting by yourself, and like you said it always feels good that you are putting something back into the economy.
I am not saying that in a hippy way but that I’m aware of that and happy to do that as well.
Designing gives me a great tool to work with local artisans, which is great, because you learn and you learn the stories, so it in not a lonely space like an artist where you are painting by yourself, and like you said it always feels good that you are putting something back into the economy.
I am not saying that in a hippy way but that I’m aware of that and happy to do that as well.
You are moving into film as well, with the video work at the exhibition and the documentary film Karima, do you feel a different sensation to photography?
100%, film, I am still learning, it’s all experimental, and the only thing with film is that it takes time to do, but it is definitely something that if it feels right I will continue to do.
100%, film, I am still learning, it’s all experimental, and the only thing with film is that it takes time to do, but it is definitely something that if it feels right I will continue to do.
And would you photograph someone without styling them?
Yes, there are some people I haven’t touched, not all of them are my designs, on the Kesh Angels image, the girls on bikes that’s all their outfits, so you can see where the inspiration is coming from and then there are certain artists well I can mix and match, if they come in with a great shirt and then the rest can be my designs.
Many are my designs, but I would say there are certain characters from the past where they already had their own thing going on, but I might add the sunglasses or the socks.
Yes, the sunglasses, it's your mark, what is that about?
Well it’s the rock star, if you think of a rock star, they normally have sunglasses on at night time in the club.
Yes, there are some people I haven’t touched, not all of them are my designs, on the Kesh Angels image, the girls on bikes that’s all their outfits, so you can see where the inspiration is coming from and then there are certain artists well I can mix and match, if they come in with a great shirt and then the rest can be my designs.
Many are my designs, but I would say there are certain characters from the past where they already had their own thing going on, but I might add the sunglasses or the socks.
Yes, the sunglasses, it's your mark, what is that about?
Well it’s the rock star, if you think of a rock star, they normally have sunglasses on at night time in the club.
Sunglasses Cabinet, 2017 by ©Hassan Hajjaj, courtesy of Vigo Gallery
S.P. Bikin’, 2015 by ©Hassan Hajjaj, courtesy of Vigo Gallery
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Hassan Hajjaj, lives and works in London and Marrakech.
He is an artist, photographer, designer, interior designer, stylist and fashion designer. His work has been acquired by the Brooklyn Museum, New York, USA, Los Angeles Contemporary Art Museum, CA, USA, The Victoria and Albert Museum London UK, The British Museum London UK, The Virginia Museum of Fine Art Richmond Virginia USA, The Farjam Collection Dubai UAE and at The Barjeel Collection Sharjah UAE. Hassan Hajajj has also done many album covers, advertising, television work and interior design, including the Andy Wahloo Bar, Mourad Mazouz’s establishment in Paris, France. In 2003 from Frame Magazine (frame 34) Arabian nights recycling, Paris, France, he received the French award ‘Fooding 2003’ for the best restaurant design granted to Andy Wahloo Bar, Paris, France. In 2011 he was the winner of The Sovereign African Art Prize for his work Rubbish Odalisque Johannesburg, South Africa and in 2014 he received a Certificate of Recognition by The City of Los Angeles, State of California Winner of the Pulse Art Fair Prize. Some of his solo exhibitions include: 2017-La Salle de Gym des Femmes Arabes, Al Riwaq Art Space, Adliya, Bahrain La Caravane, Somerset House, London, UK 2016-La Salle de Gym des Femmes Arabes, The Third Line, Dubai, UAE 2015-Hassan Hajjaj, My Rock Stars Experimental, Vol.1, Wexner Center for the Arts, Columbus, Ohio, USA Hassan Hajjaj: My Rock Stars, Newark Museum, New Jersey, USA 2014-Kesh Angels, Taymour Grahne Gallery, New York, USA My Rock Stars Experimental: Volume 1, (video), LACMA, Los Angeles, USA My Rock Stars: Volume 2, Gusford Gallery, Los Angeles, CA, USA 2013-My Rock Stars Experimental: Volume 1, LACMA, Los Angeles, CA, USA Vogue: The Arab Issue, Middle East Film Festival, Aria Art Gallery, Florence, Italy Marrakesh Biennale, Marrakesh, Morocco 1:54 Contemporary African Art Fair, 1:54 Forum, Somerset House, London, UK My Rock Stars: Volume 1, Virginia Commonwealth University, Doha, Qatar 2012-My Rock Stars: Volume 1, The Third Line, Dubai, UAE Mi Casa es tu Casa, Marrakech Biennale 4, Riad Yima, Derb Aarjane, Rahba Lkdima, Medina, Marrakesh, Morocco 2010-Marque Deposée, Matisse Gallery, Marrakesh, Morocco Kesh Angels, ROSE ISSA PROJECTS, London, UK 2009-Dakka Marrakesh, for the 8th Bamako Encounters African Photography Biennial, Bamako, Mali 1430 in Casa, Matisse Art Gallery, Casablanca, Morocco Le Salon, The Chapter Gallery, Cardiff, Wales 2008 Noss Noss, The Third Line, Doha, Qatar and many more. |
Hassan Hajjaj's latest exhibition in London runs until 7th January at Somerset House, London and was also part of 1:54 Contemporary African Art Fair.
More info on Hassan Hajjaj's images at Vigo Gallery, London. |