Matthew Bernucca
first winner, matthew bernucca
portraits
Portraits
Winner
FIRST Winner : Portraits :
Matthew Bernucca
( of )   
we make each other real
The bonds that we create with other people are the strongest forces in the world. My work responds to the presence of a bond between two people and what happens when that bond is absent. One of the reasons I make art is to prove I exist; that I have existed. Art is the evidence of a life that has been lived. This series is the product of the people I have connected with and who have shaped me.
we make each other real
The bonds that we create with other people are the strongest forces in the world. My work responds to the presence of a bond between two people and what happens when that bond is absent. One of the reasons I make art is to prove I exist; that I have existed. Art is the evidence of a life that has been lived. This series is the product of the people I have connected with and who have shaped me.
we make each other real
The bonds that we create with other people are the strongest forces in the world. My work responds to the presence of a bond between two people and what happens when that bond is absent. One of the reasons I make art is to prove I exist; that I have existed. Art is the evidence of a life that has been lived. This series is the product of the people I have connected with and who have shaped me.
we make each other real
The bonds that we create with other people are the strongest forces in the world. My work responds to the presence of a bond between two people and what happens when that bond is absent. One of the reasons I make art is to prove I exist; that I have existed. Art is the evidence of a life that has been lived. This series is the product of the people I have connected with and who have shaped me.
we make each other real
The bonds that we create with other people are the strongest forces in the world. My work responds to the presence of a bond between two people and what happens when that bond is absent. One of the reasons I make art is to prove I exist; that I have existed. Art is the evidence of a life that has been lived. This series is the product of the people I have connected with and who have shaped me.
we make each other real
The bonds that we create with other people are the strongest forces in the world. My work responds to the presence of a bond between two people and what happens when that bond is absent. One of the reasons I make art is to prove I exist; that I have existed. Art is the evidence of a life that has been lived. This series is the product of the people I have connected with and who have shaped me.
Amanda Rowan
first winner, amanda rowan
still life
Still Life
Winner
FIRST Winner : Still Life :
Amanda Rowan
( of )   
ritual
My body of work "Ritual" examines womanhood in the realm of traditional mating rituals. By combining still life and self-portraiture, I shift the gaze from voyeur to muse. I want to examine performance, power and vulnerability. I incorporated clothing and objects that I inherited from my late maternal grandmother into the styling of this shoot. By pairing these inherited objects with organic matter that is symbolic to me, I attempt to examine the history of conception, domesticity, and matriarchy within my family.

Using the female form of my own body, I am both eluding to and rejecting heteronormative expectations of feminine sexuality. These images draw on Dutch paintings, vintage burlesque performances, 1950s food photography and depictions of religious deities. They were shot on 4x5 color Kodak film and a large format digital camera.
ritual
My body of work "Ritual" examines womanhood in the realm of traditional mating rituals. By combining still life and self-portraiture, I shift the gaze from voyeur to muse. I want to examine performance, power and vulnerability. I incorporated clothing and objects that I inherited from my late maternal grandmother into the styling of this shoot. By pairing these inherited objects with organic matter that is symbolic to me, I attempt to examine the history of conception, domesticity, and matriarchy within my family.

Using the female form of my own body, I am both eluding to and rejecting heteronormative expectations of feminine sexuality. These images draw on Dutch paintings, vintage burlesque performances, 1950s food photography and depictions of religious deities. They were shot on 4x5 color Kodak film and a large format digital camera.
ritual
My body of work "Ritual" examines womanhood in the realm of traditional mating rituals. By combining still life and self-portraiture, I shift the gaze from voyeur to muse. I want to examine performance, power and vulnerability. I incorporated clothing and objects that I inherited from my late maternal grandmother into the styling of this shoot. By pairing these inherited objects with organic matter that is symbolic to me, I attempt to examine the history of conception, domesticity, and matriarchy within my family.

Using the female form of my own body, I am both eluding to and rejecting heteronormative expectations of feminine sexuality. These images draw on Dutch paintings, vintage burlesque performances, 1950s food photography and depictions of religious deities. They were shot on 4x5 color Kodak film and a large format digital camera.
ritual
My body of work "Ritual" examines womanhood in the realm of traditional mating rituals. By combining still life and self-portraiture, I shift the gaze from voyeur to muse. I want to examine performance, power and vulnerability. I incorporated clothing and objects that I inherited from my late maternal grandmother into the styling of this shoot. By pairing these inherited objects with organic matter that is symbolic to me, I attempt to examine the history of conception, domesticity, and matriarchy within my family.

Using the female form of my own body, I am both eluding to and rejecting heteronormative expectations of feminine sexuality. These images draw on Dutch paintings, vintage burlesque performances, 1950s food photography and depictions of religious deities. They were shot on 4x5 color Kodak film and a large format digital camera.
Maria Elisa Duque
first winner, maria elisa duque
abstract / mixed media
Abstract / Mixed Media
Winner
FIRST Winner : Abstract / Mixed Media :
Maria Elisa Duque
( of )   
asteroids
I've executed a playful rebellion of logic, a space where the real and absurd coexist. Photography has traditionally been used as a way to depict reality and reality, is supposed to be accepted as the truth. But both of these beliefs have been distorted in these images, either through interpretation or because a three-dimensional structure has become distorted as a two-dimensional representation of a three-dimensional structure. I want these images to question any common agreements about what is "real" or what is "reality." I've reinterpreted laws of physics; the concept of upwards or downwards are reinterpreted.

The "asteroids" that I've created are micro planets and isolated urban landscapes where I use existing architectural structures as the building blocks for creating new structures. There are different vanishing points, horizon lines and proportions. The way that these new structures are assembled is an attempt to create a different reality.
asteroids
I've executed a playful rebellion of logic, a space where the real and absurd coexist. Photography has traditionally been used as a way to depict reality and reality, is supposed to be accepted as the truth. But both of these beliefs have been distorted in these images, either through interpretation or because a three-dimensional structure has become distorted as a two-dimensional representation of a three-dimensional structure. I want these images to question any common agreements about what is "real" or what is "reality." I've reinterpreted laws of physics; the concept of upwards or downwards are reinterpreted.

The "asteroids" that I've created are micro planets and isolated urban landscapes where I use existing architectural structures as the building blocks for creating new structures. There are different vanishing points, horizon lines and proportions. The way that these new structures are assembled is an attempt to create a different reality.
asteroids
I've executed a playful rebellion of logic, a space where the real and absurd coexist. Photography has traditionally been used as a way to depict reality and reality, is supposed to be accepted as the truth. But both of these beliefs have been distorted in these images, either through interpretation or because a three-dimensional structure has become distorted as a two-dimensional representation of a three-dimensional structure. I want these images to question any common agreements about what is "real" or what is "reality." I've reinterpreted laws of physics; the concept of upwards or downwards are reinterpreted.

The "asteroids" that I've created are micro planets and isolated urban landscapes where I use existing architectural structures as the building blocks for creating new structures. There are different vanishing points, horizon lines and proportions. The way that these new structures are assembled is an attempt to create a different reality.
asteroids
I've executed a playful rebellion of logic, a space where the real and absurd coexist. Photography has traditionally been used as a way to depict reality and reality, is supposed to be accepted as the truth. But both of these beliefs have been distorted in these images, either through interpretation or because a three-dimensional structure has become distorted as a two-dimensional representation of a three-dimensional structure. I want these images to question any common agreements about what is "real" or what is "reality." I've reinterpreted laws of physics; the concept of upwards or downwards are reinterpreted.

The "asteroids" that I've created are micro planets and isolated urban landscapes where I use existing architectural structures as the building blocks for creating new structures. There are different vanishing points, horizon lines and proportions. The way that these new structures are assembled is an attempt to create a different reality.
asteroids
I've executed a playful rebellion of logic, a space where the real and absurd coexist. Photography has traditionally been used as a way to depict reality and reality, is supposed to be accepted as the truth. But both of these beliefs have been distorted in these images, either through interpretation or because a three-dimensional structure has become distorted as a two-dimensional representation of a three-dimensional structure. I want these images to question any common agreements about what is "real" or what is "reality." I've reinterpreted laws of physics; the concept of upwards or downwards are reinterpreted.

The "asteroids" that I've created are micro planets and isolated urban landscapes where I use existing architectural structures as the building blocks for creating new structures. There are different vanishing points, horizon lines and proportions. The way that these new structures are assembled is an attempt to create a different reality.
asteroids
I've executed a playful rebellion of logic, a space where the real and absurd coexist. Photography has traditionally been used as a way to depict reality and reality, is supposed to be accepted as the truth. But both of these beliefs have been distorted in these images, either through interpretation or because a three-dimensional structure has become distorted as a two-dimensional representation of a three-dimensional structure. I want these images to question any common agreements about what is "real" or what is "reality." I've reinterpreted laws of physics; the concept of upwards or downwards are reinterpreted.

The "asteroids" that I've created are micro planets and isolated urban landscapes where I use existing architectural structures as the building blocks for creating new structures. There are different vanishing points, horizon lines and proportions. The way that these new structures are assembled is an attempt to create a different reality.
George Mcleod
first winner, george mcleod
landscapes
Landscapes
Winner
FIRST Winner : Landscapes :
George Mcleod
( of )   
halo
From an ongoing series of alternative depictions of British landscapes.
halo
From an ongoing series of alternative depictions of British landscapes.
halo
From an ongoing series of alternative depictions of British landscapes.
halo
From an ongoing series of alternative depictions of British landscapes.
halo
From an ongoing series of alternative depictions of British landscapes.
halo
From an ongoing series of alternative depictions of British landscapes.
Tony Mcateer
first winner, tony mcateer
urban scenes
Urban Scenes
Winner
FIRST Winner : Urban Scenes :
Tony Mcateer
( of )   
flat-pack (shenyang & chengdu)
China's economic development relies on the wealth of the urban population and an aspirational attitude toward consumerism. This series looks at the remodeling of two Chinese city centers into hubs of commerce. There are two different parts to this project, presented as diptychs. The first part is made up of vivid, colorful photos that peek through the rubble of the construction sites, mixing a bright consumerist aesthetic with the messy reality of the construction and demolition taking place. The second part is the street views which show the limbo-type place that people have to negotiate during this upheaval to their homes, workplace and way of life.

This project captures a significant moment of change for these cities and their inhabitants.
flat-pack (shenyang & chengdu)
China's economic development relies on the wealth of the urban population and an aspirational attitude toward consumerism. This series looks at the remodeling of two Chinese city centers into hubs of commerce. There are two different parts to this project, presented as diptychs. The first part is made up of vivid, colorful photos that peek through the rubble of the construction sites, mixing a bright consumerist aesthetic with the messy reality of the construction and demolition taking place. The second part is the street views which show the limbo-type place that people have to negotiate during this upheaval to their homes, workplace and way of life.br>
This project captures a significant moment of change for these cities and their inhabitants.
flat-pack (shenyang & chengdu)
China's economic development relies on the wealth of the urban population and an aspirational attitude toward consumerism. This series looks at the remodeling of two Chinese city centers into hubs of commerce. There are two different parts to this project, presented as diptychs. The first part is made up of vivid, colorful photos that peek through the rubble of the construction sites, mixing a bright consumerist aesthetic with the messy reality of the construction and demolition taking place. The second part is the street views which show the limbo-type place that people have to negotiate during this upheaval to their homes, workplace and way of life.

This project captures a significant moment of change for these cities and their inhabitants.
flat-pack (shenyang & chengdu)
China's economic development relies on the wealth of the urban population and an aspirational attitude toward consumerism. This series looks at the remodeling of two Chinese city centers into hubs of commerce. There are two different parts to this project, presented as diptychs. The first part is made up of vivid, colorful photos that peek through the rubble of the construction sites, mixing a bright consumerist aesthetic with the messy reality of the construction and demolition taking place. The second part is the street views which show the limbo-type place that people have to negotiate during this upheaval to their homes, workplace and way of life.

This project captures a significant moment of change for these cities and their inhabitants.
flat-pack (shenyang & chengdu)
China's economic development relies on the wealth of the urban population and an aspirational attitude toward consumerism. This series looks at the remodeling of two Chinese city centers into hubs of commerce. There are two different parts to this project, presented as diptychs. The first part is made up of vivid, colorful photos that peek through the rubble of the construction sites, mixing a bright consumerist aesthetic with the messy reality of the construction and demolition taking place. The second part is the street views which show the limbo-type place that people have to negotiate during this upheaval to their homes, workplace and way of life.

This project captures a significant moment of change for these cities and their inhabitants.
Naiwen Zhang
grand prize, naiwen zhang
student work
Student Work
Grand Prize
Grand Prize : Student Work :
Naiwen Zhang
( of )   
indefinable objects
I used plants, placing them into an imaginary space, to create scenes that I’ve seen in my dreams. The subjects interact with their shadows and the abstract shapes in the photographs that represent the object in another dimension, my dream world. With these photographs, I’ve tried to create little narratives that are open to interpretation by the viewer.
indefinable objects
I used plants, placing them into an imaginary space, to create scenes that I’ve seen in my dreams. The subjects interact with their shadows and the abstract shapes in the photographs that represent the object in another dimension, my dream world. With these photographs, I’ve tried to create little narratives that are open to interpretation by the viewer.
indefinable objects
I used plants, placing them into an imaginary space, to create scenes that I’ve seen in my dreams. The subjects interact with their shadows and the abstract shapes in the photographs that represent the object in another dimension, my dream world. With these photographs, I’ve tried to create little narratives that are open to interpretation by the viewer.
indefinable objects
I used plants, placing them into an imaginary space, to create scenes that I’ve seen in my dreams. The subjects interact with their shadows and the abstract shapes in the photographs that represent the object in another dimension, my dream world. With these photographs, I’ve tried to create little narratives that are open to interpretation by the viewer.
indefinable objects
I used plants, placing them into an imaginary space, to create scenes that I’ve seen in my dreams. The subjects interact with their shadows and the abstract shapes in the photographs that represent the object in another dimension, my dream world. With these photographs, I’ve tried to create little narratives that are open to interpretation by the viewer.
JUDGES CONTENT