Some of my favorite projects I’ve ever seen at RCA have come out of the Hidden exhibition. One of my absolute favorites is by my friend Amir, who works on this project where he uses images from the streets—panoramic views basically—and stitches them together into one long, continuous image.

And here’s the best part: it’s controlled by a bicycle. You ride it. Depending on the speed of the cycle, the image scroll speed changes. I’m sure he’s got a lot going on in terms of geotagging, image collection, archiving—all that technical magic—but the way it all comes together? It’s just brilliant.

Similarly, I’ve seen projects on photography, cyanotypes, archival materials blended with interactive installations. These are some of the most beautiful, raw, and emotionally charged works I’ve experienced.

So every year, I make it a point to go photograph them. And I love photographing them. These photographs have even been used by RCA’s official archives, which makes me really happy. What makes me even happier is the people—the staff—appreciating those photographs, showing love for the way I’ve captured them.

Once, one of the official staff members even invited me to photograph them. And you know, I love photographing these exhibitions because it makes me feel like I’m right there—interacting with the work, with the audience, and with the creator. That rare triangle of connection… that’s what I feel when I photograph exhibitions like Hidden.

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