The CRD Arts Development Service provides funding support to...
Rima’s art is deeply personal and allows her to channel all of her feelings. Rima’s creations are a way of allowing emotions to flow through her body into the art piece and tell stories without words. As a sensitive person, Rima hopes to evoke feelings for people viewing her art, such as love, care, and compassion. In addition, her art portrays her love for her daughter Nour and allows Rima to honour her and her legacy. A few years ago, while creating a painting together, Rima told Nour that she would hold an art exhibit to show the world her beauty and shine. Sadly, Nour passed away in 2020, so she will not get to see this promise in person. However, Rima is happy to honour Nour’s life and the delight she brought through this art exhibit so that others can also see how special she is. Nour was born with disabilities and doctors said she would not live more than a few years. They were wrong, and Nour and Rima got to spend 25 years together. Every day, Rima still feels Nour’s energy and presence around her, which is comforting and inspiring. Rima makes art the same way she cared for Nour, tenderly and with attention to detail. Lastly, she enjoys making art out of anything, including recycled materials. While someone else might see garbage or scraps, Rima sees possibility and creation. Rima’s art aims to encourage others to do the same.
Rima Ibrahim is a completely self-taught emerging artist. She is Syrian and was temporarily displaced in Lebanon before finally finding refuge in Victoria on Lekwungen territories. Rima is also the mother of Nour and two sons, Ahmad and Mohamed. Since Rima was young, she has held this immense love for everyone. Despite living through both physical and psychological wars, Rima came through it and won. Rima practices several art mediums and enjoys experimenting with new ones. Rima’s art is a testament to her resilience, sensitivity, and love.
The fifty fifty arts collective is comprised of individuals living and working on unceded and occupied First Nations Territories, specifically the lands of the Songhees and Esquimalt Nations, as well as the W̱SÁNEĆ, Sc'ianew and T'Souke First Nations.
The programming space itself is situated on Songhees and Esquimalt Territory but engages with individuals and communities across Turtle Island.
As a collective we endeavour to deepen our own understandings of how we are implicated in the history and in the present ongoing project of settler colonialism. As members of the fifty fifty arts collective we continually responsibilize ourselves to the complex kind of space that is the fifty fifty which hosts and facilitates the dissemination of the ideas and work of others.
The entrance to the fifty fifty arts collective is wheelchair accessible, however, the door is not automatic and we have no washrooms on site. A more comprehensive statement regarding our accessibility is in progress, specific questions or requests regarding accessibility can be sent to [email protected]
Funded by CRD Feed the Arts