“There is no art without a message”
Meet Artist in Residence Randa Hijazi
Our latest Artist in Residence is Randa Hijazi. Educated in Syria and Dubai, she came to Canada in 2017, where she now lives and works in Laval. Her work explores connections between ancient and modern, and includes acrylic on canvas and furniture. She was one of the first artists to register with Imprimo when we launched and we’re delighted to have her as part of the community.
Imprimo: You’re answering our Artist in Residence interview from your studio in Laval, QC. What’s the view from your window?
Randa Hijazi: I see from my window the warm sunlight with a lot of hope and comfort and the green color full of life. It’s summer, finally.
I: You were born in Damascus, Syria, have lived in Dubai, and only settled in Canada in 2017. In your paintings you explore connections between the ancient and modern, via representations of human connection, female power, artefacts, and stories of civilization. How has your physical journey as a person influenced your creative journey as an artist?
RH: My goal is to deliver a message through my paintings. My interest in human and cultural issues is what I always think of. There is no art without a message, and I do not believe in improvisational art without a deep study. It can take many paintings to express a single subject. Moving to several countries enriched my visual and intellectual culture and opened the horizon to a clearer vision of the civilizations and suffering of different people, and this in itself I considered a real wealth.
I: You’re a well-established artist but relatively new to Canada. Is there a particular hurdle you had to overcome (or are still overcoming) in establishing yourself in a new market?
RH: The main obstacle is that I come from a completely different society than the Canadian one.
My biggest obstacle is the language. I speak French and English, but it remains weak if we compare it to those who speak it as a first language. In addition, integrating into this society and getting acquainted with its traditions needs some extra time. But I will not give up, I am working hard to engage in it. I think, during a period of 5 years, I was able to achieve goals that I am satisfied with and I have great confidence that I could succeed even more than what I have done in the Middle East region.
I: In your bio you describe, “working with the eyes of a photojournalist and the heart of the artist.” Can you talk about what you mean by that? How do we see that in your work?
RH: I held an exhibition in Syria to express the humanitarian conditions that the Syrian people lived through during the war. At that time, I went out into the streets and took some pictures with my camera of some people in pain. Through these pictures, I began to paint.
I: You have qualifications in media communications and business as well as an art degree. How do those skills work together in your career as an artist? You’re active across multiple platforms to promote and sell your work, for example.
RH: Yes, I spent about 12 years of my life in university studies. And if I could study more, I wouldn’t stop. Science and culture are the main key to enlightened thought and a deeper understanding of the concept of life and human existence. Every time I study or read, I find myself diving into a new world, the end of which takes me to my first passion, which is art. We shouldn’t forget that the artist has a strong influence in building society and civilization. What he presents must be the result of knowledge, science — reliable and free from any errors. The artist’s mission is not to present beautiful art to society, but rather to present information and culture. Formulating concepts to suit the era of times.
I: Past Imprimo Artist in Residence Grant McConnell asks: What bugs you the most about the art world?
RH: What bothers me the most about art is that it is a silent art unlike any other kind of arts. For example, the painting is installed on the wall and does not have movement or sound to draw attention. It does not depend on the five senses to understand or enjoy it, but rather it needs insight, wisdom and high culture to read it and enjoy its deep hidden potentials, and this is what makes the percentage of art pioneers and good readers of the painting small.
What we need from our societies is a raise of artistic culture and for the state to support and increase societal awareness of the value of art before supporting the artist himself.
I: OK, quick-fire round. What artist(s), living or dead, would you most like to meet for coffee?
RH: I am a fan of Gustav Klimt and I wish I had lived his entire era.
I: Is there an unlikely skill you’ve acquired in service of your art?
RH: Art taught me to feel beauty to the end, as it is a promise of happiness.
I: Can you remember the first piece you exhibited publicly?
RH: When I was in the third year of University of Fine Arts in 2019.
I: What’s the last gallery you visited?
RH: About 15 days ago, I visited Gallea gallery in Montreal.
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