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Solo exhibition competition, December 2019





Allison Morris (Canada): What Is Hidden By What We See

Exhibition dates: December 19, 2019 – January 11, 2020 (Project Room)


Please visit Allison's exhibition page here.



Honourable mentions: 


Suzanne Gonsalez-Smith (USA): Lost Childhood

Stefanie Lebowski (France): On the Quays
Yoshitaka Masuda (Japan): Tokyoview


Please click on the names for the galleries of the honourable mentions.

Suzanne Gonsalez-Smith

Lost Childhood
Anchor 1
Lost Childhood No. 1
Lost Childhood No. 5
Lost Childhood No. 6
Lost Childhood No. 9
Lost Childhood No. 11
Lost Childhood No. 12
Lost Childhood No. 14
Lost Childhood No. 15
Lost Childhood No. 19
Lost Childhood No. 20
Lost Childhood No. 21
Lost Childhood No. 22
Lost Childhood No. 23
Lost Childhood No. 24
Lost Childhood No. 29

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Artist statement

Suzanne Gonsalez-Smith: Lost Childhood

Lost Childhood is my visual interpretation of dealing with the loss of childhood innocence, abuse and even death that affects so many children in the United States and worldwide. This stems from the current events of the day that are filled with an endless stream of data pertaining to violence against children.


Photography has a history of being linked to the recording of memory and therefore, also loss. The photographic image is a visual memory both real and fabricated in its design.  It is capable of expressing the duality of the moment: life and death, dark and light, loss and fulfillment. In documentation, the act of death or loss is often portrayed as either romantic or brutally Gothic. Lost Childhood uses symbolism to create a visual metaphor rich in this duality. Childhood and death are referenced in every photograph.

Toys and dolls are the central theme in Lost Childhood and are used as metaphor for children who have suffered a loss of innocence. No toy is ever just a toy but rather a tool that teaches, aides in the growth of childhood development as well as gives clues to behavioral issues and the emotive personality of every child. Children who have suffered abuse or neglect often have toys that mirror their own fates. Often enough, these toys are tattered, fragile but also show the resilience of their owners as true survivors. Attachments to broken toys often symbolize some form of irreconcilable loss. A toy is a powerful tool to a child.  Often, they anthropomorphize these individual toys beyond the simplistic physical properties giving them great influence over the mind and well being of a child.

Using the beauty and innocence of childhood, such as bright colors and patterns, in combination with bones, broken and tattered toys and antique dolls, art imitates life. These items are meant to represent children who have suffered these losses using the metaphor and beauty of what it means to be a child in conjunction with items that suggest loss, abuse or death. Often, these dilapidated dolls and toys used are manipulated further by working both in a subtractive and additive fashion to create a further sense of age or alteration. Compositions are created against hand-painted and collaged background panels that give a unique richness to each photograph. Each panel created contains several layers of children’s illustrations, vintage papers, acrylic paint, spackle and encaustic wax for added texture and pop of color.  All of these materials are meant to reference the beauty of childhood. Animal bones, halos, cracks, and surface deterioration are all made to preserve the inevitability that all life is subject to the laws of mortality. The use of this symbolism is a direct reference to the 16th and 17th century Vanitas still life paintings produced in Flanders and the Netherlands as well as the influence of my own Hispanic and Latina culture. Paintings during the Spanish Golden Age of painting have also greatly influenced this work through use of color, lighting and also content. Incorporating the use of the halo harkens back to my early childhood training in Catholicism. The bones in my composition also give reference to the idea of our temporal existence and connect us to those who have passed. The effect in this series creates art that reflects life in a manner that is hauntingly beautiful but humanly flawed and helps me make sense of an imperfect world.

(Suzanne Gonsalez-Smith)



Suzanne Gonsalez-Smithwas born and raised in Washington State. She is currently an Associate Professor in Photography at the University of North Dakota where she has taught photography since 2008.  She received her BFA at the University of New Mexico and her MFA from the University of Kentucky. The imagery of Gonsalez-Smith's photographs contains the metaphor of memory and myth. Using the contemporary framework of her personal history and environment, she explores personal loss, religious and cultural identities and the duality of life, using symbolism to evoke the inevitability of our own mortality. 

Ms. Gonsalez-Smith is the recipient of many grants and awards and exhibits on both the national and international level. She has exhibited works at The Main Street Gallery, Fredericksburg Center for the Creative Arts, The Center for Fine Art Photography, The Midwest Center for Photography, The Chautauqua Center for the Arts, The Hampton Gallery, Circulo de Bellas Artes (The Circle of Fine Arts) Madrid, Spain, Atelier Gallery 030202, Bucharest, Romania, Borges Cultural Center in Buenos, Aires, Argentina, and The Kirkland Art Center in Clinton, NY to name a few.

To find out more about Suzanne Gonsalez-Smith, click here:

Stefanie Lebowski

On the Quays
Anchor 2
I came to tell You
Who Am I?
Let's have conversation No. 2
The Evasion
I don't remember Who I am
The Thinker
Something in the Eyes No. 1
Something in the Eyes No. 2
Exactly Under the Sun
This is my body
Hello from the other Side

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Artist statement

Stefanie Lebowski: On the Quays

My passion for photographic ballads and for water’s edges, particularly in big cities, drove me naturally to start this serie ON THE QUAYS few years ago. I let my eyes, my soul, my requirement, my inspiration, lead me to take these pictures. Every photo of this serie is a documentation of people on the quays. Indeed, these persons, never knew that I took them in photo, a bit like the period of humanist photographers, a period that I love. As I do not want to deprive myself of taking photos during these walks, two different parts are born of On the Quays. One is wide shots, wide views of the architecture of the quays. Of course with one person in the image, I wrote few years ago about that:
«Cities and, their bodies ; on quays are spreading thousands of objects. These objects with human soul relax on quays, under the sun. The sun warms the stone and the souls. Elements get involved and unite, in only one. Idyll of the senses, souls go back to their spiritual roots, in the heart of the crowd of this big city; the bodies are resting in the heart of the proud architecture waving along the river. The constructed by human, and the original state of nature arereincarnated in a harmonious unity.»
In the same time, I am so attracted by color and funny situations, that I discovered that the bodies of people could be very photogenics. But it also questioned me. Very concerned about issues of western consumption, unhealthy-food, sedentary lifestyle, I consider that this leaves traces on the bodies. On one hand, I am almost fascinated by that, but also worried.
I think to the soul inside these bodies, described above. I approach life and humans from the perspective of spirituality, considering my neighbor first and foremost as an incarnated soul. In relation to that I am therefore intrigued by the materialized aspect of the human body, by its deformations and its quirks, it never ceases to question me.
But by focusing on these bodies, as you can observed that the faces which are social recognition, are absent or not recognizable, they become only materials and ask question about the identity and the reason of our existence on earth. Finally, are we really in harmony with the rest on the earth - others animals, plants - ?
Here is the development of my thoughts while taking these photographs.


However, concerning the aesthetic plan, it is also extremely important for me to offer to viewers, a feeling of gaity transmitted by the colors and tight original framing.
(Stefanie Lebowski)



First graduated in clinical psychology, having worked in human social area, I made 10 years ago a total reconversion in photography. Working for creators or corporate as photographer, I continue to develop artistic series.

To find out more about Stefanie Lebowski, click here:

Anchor 3

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Artist statement


Yoshitaka Masuda: Tokyoview

After the Second World War, streets burned to the ground by air raids were rebuilt, and now the capital city of Tokyo is densely packed with buildings both big and small. In the skyline, we can see the scale and complexity of this.


As people live their lives in this space, individual happiness, suffering, and hope all melt into the scenery. I have attempted to project this onto the skyline.


This strained and distorted visage conveys an atmosphere of anxiety and intimidation that expands one’s worldview as if from another dimension. This previously unfelt sensation creates an aesthetic space and confers an illusion of safety.


I cannot help but feel awe at such scenery, which we typically overlook.















Born in Tokyo in 1947.


A curated international photography exhibition at ph21 Gallery Budapest 2019-2017.

Einstein Studio New Japan Photo 4 at IMA CONCEPT STORE, TOKYO, Oct. 2017.

Einstein Studio New Japan Photo 2017-2016.

JPCO member photo exhibition & Kyoto Photographie KG+ and TOKYO 2017-2014.

SAMURAI FOTO exhibition Yokohama 2017-2016.

Onaeba vol.18,16 Yokohama.


Book(e-book): SENTIMENTAL SHANGHAI/ Kindle Book, and others.


“The Atsuta Shrine” was selected to be shown at G Book Show in Brighton (One Eyed Jacks Gallery) England 5 - 15 June 2014.



Honorable Mention at International Photography Awards (IPA) 2017 “Scream”

Honorable Mention at International Photography Awards (IPA) 2016 “Looking for myself” Honorable Mention (Man of Family) at International Photography Awards (IPA) 2016 “an entrance ceremony”


The Prix de la Photographie Paris PX3 2016 Honorable Mention “classic service”


Monochrome Photography Awards 2018 (International Black & White Photography Contest) Abstract “Wall” Honorable Mention (Professional)

Monochrome Photography Awards 2018 (International Black & White Photography Contest) Street “Blowing” Honorable Mention (Professional)

Monochrome Photography Awards 2017 (International Black & White Photography Contest) Conceptual “Orbit” Honorable Mention (Professional)

To find out more about Yoshitaka Masuda, click here:

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