Sepideh Nourbakhsh

Sepideh Nourbakhsh keeps every piece of immigration paperwork she has ever received — visa stamps, boarding passes, a rejected asylum application copy, appointment slips — filed by year in a flat cabinet beside her screenprinting press. She scans the documents at full resolution before layering them into compositions, so a rejection letter's letterhead sits legible under three colours of ink rather than obscured by them. Nourbakhsh trained in printmaking and treats the press the way a filing clerk treats a stamp: exact registration, repeatable pressure, nothing left to chance except the paperwork itself. The finished prints read as abstract grids from a distance and as bureaucratic language up close. She works from a studio in Toronto and ships directly to ATG.

Sepideh Nourbakhsh collages her own visa stamps, boarding passes, and rejection letters into screenprinted compositions about bureaucratic borders and the paperwork of belonging.

Paris

That the paperwork of belonging deserves to be read closely, not just felt as an abstract weight.