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kadoya gallery international juried photography exhibition
theme | INDUSTRIAL
2014

For this exhibition, the juror Jason Landry selected 25 images for display in the main gallery, and an additional 35 to be included in the online gallery. All images will also be reproduced in an exhibition catalogue - kadoya2foto - available for purchase. A Juror’s Choice and Curator’s Choice have been announced along with two Honorable Mention. 

juror's choice award



https://sites.google.com/a/kadoyagallery.com/kadoya-gallery/int-l-juried-photography-exhibition/top-25-gallery-winners/Jurors%20Selection_Yosuke%20Terada_Industrial_143.jpg?attredirects=0

Riverside Factory
Yosuke Terada
Rego Park, New York USA

Statement 
My photographic style is one of a photo-journalistic/documentary style. Street/Urban Photography is my passion and I strive to photograph in the right place at the right moment. 

This photograph was taken in New York City, 2013. I shot this on an overcast day with my film camera. My intention was to create an image that shows the cold and inorganic trait of industrial place. Creating a high-contrast black and white image was my plan. The film grain is also an essential element to my photograph. Grainy, toned downed sky implies the environmental issues that always come with factories. By placing a river, something that flows and deforms, on a foreground, the geometric features of industrial buildings has been emphasized as well. 


curator's choice award



https://sites.google.com/a/kadoyagallery.com/kadoya-gallery/int-l-juried-photography-exhibition/top-25-gallery-winners/Curators%20Selection_Kevin%20Malella_Industrial_091.jpg?attredirects=0

Pasture
Kevin G. Mallela
Chicago, IL USA

Statement
“A Constructed Landscape” is a body of photographs questioning industry’s sustainability and longevity within local communities and ecological systems. The industrial structures in these photographs were built, essentially, to advance humanity through the production of inexpensive goods and materials. Conversely, they were built to fall into ruin and thus, fail the sustainable role outlined in the modernist utopist vision. 

These photographs borrow from the documentary tradition, yet are constructed from multiple multiple images and vantage points. I utilize this production method as a means to emphasize and exaggerate direct relationships industry has with its surrounding environment. This visual technique erases the invisible boundaries perceived by our society that separate industrial affects and hazards from the non-industrial elements. These conflicting relationships are articulated through the constructed and juxtaposed arrangements of the visual components as well as the equally ambiguous and Arcadian view. I employ digital production within photography to create more plausible scenes, therefore increasing the viewer’s engagement with these disconcerting landscapes.


honorable mention



https://sites.google.com/a/kadoyagallery.com/kadoya-gallery/int-l-juried-photography-exhibition/top-25-gallery-winners/Eric%20Gould_Industrial_063.jpg

Collapsible
Eric Gould
Boston, MA USA

Statement
There are always sideshows, little formalisms and abstracts to be plucked from the jumble of the everyday. And there are always stories. For me, the photograph has always been an extension of the poetic impulse – a way of conflating the plain with the ineffable, the earnest and the comic – into short moments that dig at the roots of things.

In may ways it is the most difficult work to achieve… unhooking shorthand images clipped from the chaotic or ordinary that strike quick, and true. This method might make a good picture, but more important, it stirs those things already within us, perhaps things we did not know we know, and often, for what we didn’t have words. –Eric Gould, 2014
 
About the work: As a street photographer, you’re always on the prowl, and always in fear of missing the split-second opportunity. Even worse, is missing what is there, right in front of you. Such is the task at hand. My portfolio is primarily hand-held, spontaneous work… solitary journeys through the city and the country have led me to such recurring interests of industry, machines, decay, abandoned spaces. I look for the archetypes of the ordinary and figures that seem to speak more psychologically than physically. 

About Eric Gould: Eric is an architect and designer in Massachusetts. His past work has included shadow careers in public art, installation, music and poetry. He was a recipient of the Massachusetts Cultural Council’s Design and the Built Environment Fellowship award, and numerous project grants including an NEA Art in Public Places Program, and awards for his architectural renderings. His work has been seen in The Boston Globe, Art New England, JPEG Magazine and many others. His “Shelter #1” photograph was prominently featured in Artsmedia magazine in 2002. 


honorable mention



https://sites.google.com/a/kadoyagallery.com/kadoya-gallery/int-l-juried-photography-exhibition/top-25-gallery-winners/Industrial_011.jpg

Stairway of Crooked Island Lighthouse, #7/500
Jim Austin Jimages
Green Cove Springs, Florida  USA 

Statement 
All 3 of these black and white photographs of abandoned buildings were taken in the Bahamas. Two are from a 1950's era US Navy missile tracking station, and the third shows the steps up the Crooked Island Lighthouse. These prints are offered in a numbered 500 series; they are published in Speed Ruins, my 2014 book about the craft of a new Slower Photography. I've been photographing for about 30 years, and 
am now teaching. 

Slower Photography is awareness. I often feel a deep reverence for my surroundings, and make these images to do service to the sense of place. Ruins are part of our past, yet exploring them, I am inspired to stay mindful in the present. For me, doing Slow Photography in ruins, I see in present surroundings many remindful associations to past experience. Earlier in life, I lived in Kyoto Japan, I was influenced by Buddhist practice there. Currently I live on a sailboat year round, so I am always on the water. Bahamas ruins are usually close to the ocean, so in photographing them I can slow down, and explore the coast, and ruins, that fascinate me.