Art should be accessible.
When art is meant to be accessible, the process behind it matters just as much as the final work. I was invited to document Aria Sadr-Salek and Leica during the development of a screen print exhibition built on a simple but radical premise: art should be accessible.
Rather than approaching the project as traditional exhibition coverage, the focus quickly shifted toward the making itself. The slow exposure of the screens, the physicality of ink on material, the small irreversible decisions that define analog craft. What emerged in front of the camera was not just production, but intention — a deliberate move away from distance, exclusivity, and unnecessary complexity within the art market.
The visual outcome spans multiple formats: a central process film observing the creation of the works, a series of short teasers, and a spontaneous aftermovie capturing the energy of the exhibition moment. Each piece approaches the project from a slightly different distance, but all remain rooted in the same quiet observation of handmade work.
BEAUTIFUL BUT BROKEN
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BEAUTIFUL BUT BROKEN —
Underlying the exhibition is a clear question: what actually makes art feel out of reach? By working locally, reducing intermediaries, and embracing traditional screen-print techniques, the project proposes a different equation — one where high-end does not have to mean distant, and where craftsmanship becomes something tangible again.
What remains is a body of work that sits between documentation and reflection: a close look at process, material, and the human decisions embedded in every print. Not cheap. Not simplified. But consciously designed to bring art a little closer to the people it is meant for.