In Raja’a Khalid’s studio practice she is currently exploring the nature of sequencing and narrative in cinema. The scenes she chooses to paint feature some kind of a spectacular
event or moment of hyper-realistic awe, the type of cinematic situations, which appear utterly bizarre and incredible when considered in the context of real-life. Currently these feature different types of transportation that are undergoing a destructive episode, which is a pivotal part of the narrative. The car in the scenes she had been painting are in the mode of a performance
of their own.
Raja’a likes to explore the idea of paintings that function in essence as diptychs and triptychs but are installed on different planes so that they are temporally, causally, and relationally connected.