November 4, 2017 – January 14, 2018
Gallery Opening: Saturday, November 4, 5-7pm
Juried by William Ewing

Featured Artists: Lars Anderson, Ben Arnon, Sarah Anthony, Sandra Bacchi, John Barnard, Emily Berl, Adam Bernard, Christopher Paul Brown, Tianqiutao Chen, Jennifer Garza-Cuen, Orestes Gonzalez, Tamar Granovsky, Alejandro Loureiro Lorenzo, Jeanette May, Zora Murff, Laurie Peek, Ceaphas Stubbs and Ayumi Tanaka.

Each year, CPW invites a curator of national or international stature to apply their own curatorial vision in creating a survey exhibition of contemporary photography. This year’s installment of CPW’s Photography Now exhibition presents eighteen artists of a wide range of styles. Each artist explores different facets of the human condition, but collectively they seem to suggest a new direction in photography.

Updates: CPW Executive Director Hannah Frieser has chosen the work of Boston-based artist Sarah Anthony for the 2017 Purchase Award. The exhibition checklist with full artist statements is now available on Holiday hours: Please note that the gallery and offices will be closed December 25, 2017 through January 2, 2018. See you next year!!


It was a great pleasure to curate this project, resulting in a presentation of 18 photographers and 47 artworks of great variety, both in subject matter and approach. I admit I like to serve on juries, as a general principle, as it gives me an insight on what’s being produced nowcurators tend to be focused on the past, even if it’s the recent past, and most museum curators are dealing with photographers whose careers span 20 to 50 years. Even the photographers we term ‘emerging’ often turn out to have had a decade of work under their belts. So in competitions like this one, attracting more than 400 candidates, allows for an almost ‘up to the minute’ overview of where photography is today, and where it’s headed in the near future.

Some of this jury work is arduous, even depressing, but just as often it is pleasurable and stimulating, and happily for me, this was the case this time.

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Juries are seldom given to one person, for obvious reasons: It is felt that a clash of viewpoints and assessments leads to more balanced judgments. In my experience, however, it leads just as often to compromises which are satisfying to no one, and I have been on juries where a curatorial fight-out ends up with a ‘winner’ that no one actually wanted—it’s rather that if ‘you won’t vote for my choice, I won’t vote for yours’. But having a single juror doesn’t mean he or she doesn’t swing back and forth before deciding. Several jurors or one, personal prejudices, even moods, do play a role. I have no doubt another single juror might have come up with a very different selection, though I’d be surprised if there wasn’t considerable overlap. The old cliché of the cream rising to the surface applies.

I admit to bias, though I do attempt to look at each photographer’s work on its own terms. In the case of this particular jury, that meant looking first at each picture, forming a sense of what I think the work is about, then reading the statement. Not everyone is a good writer, so I’ll make allowances for mediocre texts, but I am critical at this stage, asking myself, ‘do the images live up to the explanation or description?’ In some cases, I may feel there is a disconnect at some level–but that it doesn’t matter if the images are strong enough.

I think most curators would agree with me when I say that what we looking for in these situations is coherence or consistency across a body of work. One or two strong pictures and a dozen poor ones won’t pass the grade. Nor will a hodge-podge of images, jumping around from one subject to another. Secondly, the overarching idea, or ‘the concept’ mustn’t overshadow the work itself; a particular concept might sound intriguing when put in words, but might easily result in dull pictures.

When I undertook this jury, I had no idea what I would find. Would a few photographers stand head and shoulders above the rest? As it turned out, I was struck by many of the submissions, and I therefore decided to try and reflect this overall richness and dynamism in the final selection. Looking at it now—and I mean as a whole—I think that the contrasts in the variety of styles and approaches makes everyone’s work more interesting; one might say that the whole is greater than the sum of the parts!  Photographers are trained to think of their work as wholly individual, and stands entirely alone, but in fact we’re always part of a greater culture with its coherences and its contradictions. It’s heartening to realize we are all part of a community, however fractious we appear at first glance.

So what are the threads of this tapestry? Fact and fiction, each with its practitioners. Figurative work, realism, documentary work—all very much alive. Not surprisingly, given the way our lives unfold today, there is nothing in the way of traditional landscape: what might pass for ‘landscape’ is about the people in it, and how they react to it. Abstraction is another strong thread.

But these are signposts. Best to make one’s own way among the pictures, letting them talk to us or asking our own questions of them, and sometimes letting then stop us in our tracks.

From 1977 to 1984 William Ewing was Director of Exhibitions at the International Center of Photography, New York, and from 1996 to 2010 Director of the Musée de l’Elysée, Lausanne, while also teaching at the University of Geneva. He has served on many juries over the years, and shown at a number of international photography festivals, as well as co-curating the New York Photo Festival in 2009.  Since 2010 he has worked as a curator for the Foundation for the Exhibition of Photography, Minneapolis and Lausanne, and since 2015, for the Foundation Carène, Switzerland. He is also currently Director of Curatorial Projects for Thames & Hudson, London.

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Since the late 1970s Ewing’s exhibitions have been shown at many major museums in America and Europe, including: the Museum of Modern Art and ICP, New York; the Jeu de Paume and the Centre Pompidou, Paris; the Hayward, Barbican and Serpentine Galleries, London; the Kunsthaus Zürich; the Folkwang Museum, Essen; the Walker Art Center, Minneapolis; the Setagaya Art Museum, Tokyo; the National Gallery of Victoria, Melbourne; and the Art Gallery of Ontario.

Ewing’s books include monographs on George Hoyningen-Huene, Erwin Blumenfeld, Dan Weiner, Ray Metzker, Leonard Freed and Arnold Newman, while his thematic books include Out of Focus, for the Saatchi Gallery, Lasting Impressions for Steidl, Flora PhotographicaThe BodyThe Face: The New Photographic PortraitureThe Century of the BodyLandmark: The Fields of Landscape Photography, all for Thames & Hudson. His most recent book is Edward Burtynsky: Essential Elements, while William Wegman: Being Human will be published in 2017.

In 2010 Ewing was awarded the status of Officer in the French Order of Arts and Letters, and in 2016 won the Outstanding Service to Photography Award from the Royal Photographic Society. He lives and works in Lausanne and London.

Photography Now 2017 will be on view from Saturday, November 4, 2017, through Sunday, January 14, 2018. CPW galleries are free & open to the public Wednesday – Sunday, 12pm – 5pm and by appointment. Please note that special hours apply during the holidays: The gallery and offices will be closed December 25, 2017 through January 2, 2018. See you next year!!CPW is located at 59 Tinker Street, Woodstock, NY 12498.

Banner image: Sandra Bacchi, Untitled, 2016, archival pigment print, 7×20”

Interested in Photography Now 2018? Apply through January 29.


Lars Anderson: Madison #2, 2015


Lars Anderson’s series Access was developed in a process of observing industrial facilities, but being denied entry through physical barriers. This peeked his interest and sparked his imagination about what might lie within. The barrier itself became the subject matter. As he describes, “While the shrouding of these places erases some visual possibilities, it simultaneously creates interesting new ones, and enables optical performance that changes depending on where the viewer stands.”

Lars Anderson was born and raised in Iowa. He moved to Cincinnati, OH, in 2006 and began photographing the industrial realms of the Ohio and Mississippi river valleys in 2007. His work has been the subject of several solo exhibitions and has been included in various juried group shows and an award-winning publication, the First International Photography Annual (Manifest Press, 2013).

Sarah Anthony: Deven in the Snow, 2016


Sarah Anthony projects focus on masculinity, coming of age, gender, romance and human relationships. For the past four years she has photographed a group of boys as they navigate their adolescence. During this period she watched as the boys began to cross the threshold into adulthood. The photographs emphasize the push and pull of their bodies and their mindsets as the boys struggle with shedding aspects of their youth and struggle to express their emotions.

Sarah Anthony received her BFA in Photography from Syracuse University. She works in photography, creative writing and performative mediums. Her photography has been exhibited internationally, most recently in Seoul, Korea. She is based in Boston, MA, where works as a photo editor and educator.

Ben Arnon: Willets Point, 2017


Also known as the Iron Triangle, Willets Point is a neglected and abandoned industrial area in Queens, NY without sewer system, running water, paved roads or sidewalks. It has historically been home to Latino and Asian immigrant-owned auto repair shops and scrap metal companies. This project is the story of a largely immigrant community’s fight against eminent domain. In a series of photographs comprised of urban landscapes and environmental portraits of Willets Point workers, the project reveals the human stories that exist behind the metal scraps of neglected urban space.

Ben Arnon is a New York City-based visual journalist, whose focus is documentary reportage, street portraiture and the impact of human existence on urban landscapes. Ben received an MBA from the UCLA Anderson and a BA in Interdisciplinary Studies in Society & Culture from Emory University in Atlanta. Ben writes frequently for the Huffington Post, offering social commentary on a wide array of topics including visual arts, culture, society, digital media and politics.

Sandra Bacchi: We Are All in This Together #12, 2016


Sandra Bacchi examines the separation of private and public sphere of daily life, as well as the paradox between personal and social expectations. While living in Manhattan for two years, she observed people sharing the busiest public spaces in New York City: the subway trains. She compared and analyzed the characteristics of different individuals and the relationships between them from an ethnology point of view. Observing the private moments of individuals in the shared public space of the subway led her to appreciate how challenging and complex it can be for members of a diverse population to marry their private and public persona.

Sandra Bacchi is a Brazilian photographer with a degree in photography from Escola Panamericana de Artes in São Paulo, Brazil. Her photographs have been published in Brazilian magazines, as well as in the New York magazine Visionaire. She has exhibited in the United States as well as in Brazil and is currently based in Rye Brook, NY.

John Barnard: Untitled, from the series Nature Studies, 2016


John Barnard creates a narrative about the tension that exists between nature, consumerism and materialism. The economy relies on millions of transactions everyday. There are cashiers, accountants, inspectors and police to ensure that all of these transactions are completed successfully. All of this is put in place to insure consumers get what they need and desire. Barnard points to the failure in our culture. He directs attention to basic human needs in contrast to creature comforts. He explains, “when we start to satisfy the need for love by buying a new car we are turning our inner emptiness into consumerism and this is where it becomes a social disease.”

John Barnard started out as a painter and twenty-five years ago turned to photography. He earned a BA in studio art at New York City College and an MFA in painting at the University of Washington. He has been based in Brooklyn since 1971.

Emily Berl: Untitled, from the series Marilyn, 2013


Moving to Los Angeles in 2012, Emily Berl became fascinated in the way Los Angeles as a place attracts people chasing their dreams. As she searched for a way to represent this idea visually, she discovered the face of Marilyn Monroe everywhere: T-shirts, murals, magazines. Her image was so ubiquitous that it blended into everyday life. Berl began to think of Marilyn’s story as a symbol for a place where people seek fame, and the way in which the promise and peril of the Hollywood Dream is represented in their life. Berl points out that Marilyn Monroe “is the ultimate symbol of Hollywood, but also a reminder of the downfall that the pursuit of fame can lead to. But despite the darkness her story exemplifies, she represents a place that inspires the imagination and offers a faraway glimmer of hope, generation after generation.”

Emily Berl was born and raised in Washington, DC. She studied art history and photojournalism at Boston University. Her personal work largely focuses on documentary portraiture. In addition to pursuing her own long-term projects, she works as a freelance photographer for clients including the New York Times, the Wall Street Journal, National Geographic, the Hollywood Reporter, Billboard and Bloomberg Businessweek.

Adam Bernard: El Don Cocina Mexicana, 2016


In his series Entities, Adam Bernard sets out to establish that “all entities are created with an intended purpose for their existence regardless of their creator. During their lifespan, entities evolve from their creation until their demise. The intent of my photography is to show the physical appearance of these entities by bringing together time, space, light, color and surface in order to create images that exhibit their appearance “as is” in our current era.

Adam Bernard is a photographer based in Medina, OH, who exhibits his work nationally and internationally. His awards include two individual artist fellowships by the Ohio Arts Council. He has worked as a photojournalist for Sun Newspapers and a photography instructor at the University of Akron. Bernard also participated in the “Midwest Photographers Project” at the Museum of Contemporary Photography, Columbia College; Chicago, IL.

Christopher Paul Brown: Katrin as Japanese Girl at Futuristic Store, 06-30-2016


Christopher Paul Brown views himself primarily as an alchemist. He is interested in the mundane surface of things “as fodder, as a means or lever, for revealing the deeper, inner energy of that which holds my emotional interest. Manipulation allows me ready access to the subject’s hidden aspects… In each of my photographs I have used and deliberately misused, in-camera and/or post-production manipulation. With digital photography I shoot promiscuously and playfully, but with a constancy of intent and openness. I expect surprise and serendipity. Post-production is much the same, with play, serendipity, surprise, intent and openness dominating the process.”

Brown has been active artist for more than four decades. His early photographs were published in several Chicago magazines, displayed in numerous exhibitions and purchased for the collection of the Standard Oil Company of Indiana. He received a BA in Film from Columbia College and went on to co-found the experimental music groups Random Touch and Bosch. He performed on and released 17 musical products, ranging from vinyl records to CD/DVD packages. My experimental videos were exhibited at many major festivals from 2003 to 2007. Since returning to photography, he has earned various awards, won competitions and had numerous exhibitions.

Tianqiutao Chen: Untitled, from the series Aspirations of Migrant Children, 2014


Tianqiutao Chen uses photography as a field research method. As part of his recent project he has been observing and photographing migrant workers, who are a highly marginalized and mobile group in Beijing. The diptychs in the project Aspirations of Migrant Children consist of a portrait taken by Chen and juxtaposed with a snapshot taken by one of the children. He describes his portraits as providing context, while the children use the cameras he provides them with to show an unfiltered insider perspective. His process, Chen writes, “is also an action of transferring the discourse power and subverting the traditional subject-object relationship, which is an innovative documentary practice.”

Tianqiutao Chen was born in Shandong, China. He earned a BFA in China at Central Academy of Fine Arts and an MFA in Photography at Rhode Island School of Design. He is an artist, but describes himself as more of a kind-hearted citizen. Social changes are the direct subject matters of his art practice and are also the ultimate goal of it.

Jennifer Garza-Cuen: Untitled (Female Solo, Eden, VT), 2014


Jennifer Garza-Cuen describes her project, Wandering In Place, as a series of locations in the United States that touch on her residual, cultural memory. To be interpreted as a metaphorical memoir or a narrative re-telling of facts and fictions, it is also her discovery of the dreamland that still is America.

Garza-Cuen is a photographer from the Pacific Northwest. She received the prestigious RISD GS competitive grant twice and was awarded the Daniel Clarke Johnson, Henry Wolf and Patricia Smith scholarships. Additionally, she has received fellowships to attended residencies at Light Work, the Robert Rauschenberg Foundation, Ucross, Brush Creek, Oxbow and the Vermont Studio Center. Her work has been exhibited internationally and published in contemporary photography journals such as Musée and Juxtapoz.

Orestes Gonzalez: Easter Parade Pedestrians, 2016


Midtown NYC’s Fifth Avenue and its environs around Times Square have always served as a barometer of the city’s traditions and moods. It is the country’s town square, a place to show American individuality and freedom of expression. Gonzalez has been taking pictures there for many years, finding it rich in the opportunities that reinforce its role in American pageantry and tradition.

A former architect, Orestes Gonzalez has been a full time photographer since 2005, working on personal projects that define his role as a chronicler of how current events are tied to history and tradition. The Manny Cantor Center recently featured his artist portraits in a solo exhibition, titled Studio Visit. Other exhibitions include the AI/AP group show Los Diez, which is traveling internationally. His first monotype, Julios House was published by +KrisGravesProject (2017).

Tamar Granovsky: North Shore, California, 2015


Siren Song is a body of work centered on the desert landscape of California’s Salton Sea, a region that bears witness to human intention, intervention, failure and tenacity, and invites reflection on the nature of place. Repeated attempts to channel waterways, develop agriculture and create resorts beside this accidental “sea” have left scars on the surrounding communities. The sea itself is almost dead as it evaporates and becomes increasingly noxious. In photographing traces of the everyday in the vicinity of this toxic, abandoned lake, Granovsky draws a connection between history and this place where decay and survival coexist. Sparseness, the desert’s horizon, open terrain and the distant mountains define this world. This project, which is personal, subjective and documentary in character, focuses on this seemingly marginalized and neglected American “Western Frontier” and the vestiges of its inhabitants. The photographs are more about the people – and their absence – than about the land.

Tamar Granovsky is a photographer based in Cambridge, MA. Born in Israel, she spent her childhood and young adult years in Canada. Having received an MFA degree from the University of Calgary, Granovsky worked in mixed media sculpture installation and, later, printmaking. While she grew up with a father who always seemed to carry a camera by his side, Granovsky never imagined that she herself would become serious about photography after the age of 50.

Alejandro Loureiro Lorenzo: Untitled, 2017


Alejandro Loureiro Lorenzo’s series of work begins with spontaneous hand-made graphite drawings and photographs documenting discarded materials and overlapping residual architectural and landscape elements. The materials collected are digitalized and manipulated, integrating traditional media as drawing with digital and film photography, subsequently producing imagery that avoids any medium distinction and homogenize the source material. The present works are essentially photographic as all the materials are photographed or scanned. He describes, “I realized that the results seem to have archetypical roots – fundamental imagery that we unconsciously recognize, and that I link to the massive processing of materials that takes place in our current ‘post-industrial’ manufacturing of goods, where some kinds of trash and discarded materials due to its complexity could be looked at as art, not only in shape but in terms of content due to all the complexities and politics behind their creation, and giving us powerful critical tools to analyze current concerns on art production and the reception of it.”

Loureiro Lorenzo is a Galician artist and curator living and working in New York City. He received a BFA in Sculpture from Polytechnic University of Valencia in 2006, and BFA in Painting from Middlesex University London in 2007. He is is completing his PhD in Art Production and Art Research at Polytechnic University of Valencia. His work has been exhibited in Germany, Spain, and the United States.

Jeanette May: Red Phone, from the series Tech Vanitas, 2016


“As widely observed, we live in an age filled with devices that make domestic life faster, smarter, easier and more complicated,” Jeanette May describes. Consumers may choose from an astounding number of tech products. Items fill our shopping carts and our homes. The more we yearn to keep current—the newest phone, computer, camera, audio system, espresso maker—the more we produce, consume and discard. Cutting-edge technology becomes outdated, embarrassing, quaint, collectible and finally, antiquated or forgotten. The “Tech Vanitas” photographs confront the anxiety surrounding technological obsolescence.

“Just as the Dutch Golden Age still lifes portray the abundance afforded a prosperous culture, my “Tech Vanitas” embraces luxury, honors design, and acknowledges the fleeting nature of earthly pleasures. My contemporary vanitas utilize digital photography to capture precarious arrangements of domestic technological ephemera.”

Jeanette May is a photo-based artist using a critical, sometimes playful approach to investigate representation itself. Early training as a painter is evident in her carefully arranged compositions and rich color palette. May received her MFA in Photography from CalArts and her BFA in Painting from the University of Illinois, Urbana-Champaign. She has been awarded grants, fellowships and residencies from the NEA Regional Artists’ Projects Fund, Illinois Arts Council, Chicago Department of Cultural Affairs, Ms. Foundation, and Elizabeth Foundation for the Arts. Her work is exhibited in galleries and museums internationally. May teaches at the International Center of Photography in New York City and lives in Brooklyn.

Zora Murff: Levi at 15, 2015


From 2012 to 2015, Zora J Murff worked as a tracker for Linn County Juvenile Detention and Diversion Services in Cedar Rapids, Iowa. As a tracker, he provided services to youths who were convicted of crimes, adjudicated and subsequently ordered to complete probation. “It was my responsibility to have continual contact with them to ensure these expectations are met. Tracking and other similar community-based services are being increasingly used as an alternative to detention facilities. These services, which allow juveniles to stay in their homes, show a higher rate of success than strict incarceration.”

“Through employing ideas of anonymity, voyeurism and introspection, Corrections is an examination of youth experience in the system, the role images play in defining someone who is deemed a criminal, and how the concepts of privacy and control may affect their future.”

Murff is an MFA student at the University of Nebraska-Lincoln. He attended the University of Iowa where he studied Photography and holds a BS in Psychology from Iowa State University. Combining his education in human services and art, Zora’s photography focuses on the experiences of youth in the juvenile justice system and the role of images in the correctional system; specifically how images are used to define individuals who are deemed criminals, and what happens when these definitions are abandoned or skewed. His work has been exhibited nationally, internationally. His work has been published in Vice Magazine, Good Magazine, and PDN’s Emerging Photographer Magazine. In 2015, Zora was selected as a LensCulture Top 50 Emerging Talent. A portfolio of his work is included in the Midwest Photographers Project through the Museum of Contemporary Photography in Chicago. Zora published his first monograph, Corrections, through Aint-Bad Editions (2015).

Laurie Peek: Office Building on BMW, Manhattan, NY, 2015


Laurie Peek started her series Car Parts in 2012. Attracted to the light and abstract pattern in a reflection on a parked car door, she began noticing these “paintings” on cars everywhere and set out to collect them. For Peek these dream-like images combine elements of gestural energy from Abstract Expressionism with the bright colors of Pop art in a tribute to the glamour that American society has long associated with the automobile. They are akin to what John Chamberlain was doing with his metal sculptures of crushed cars. Looking for the extraordinary in the ordinary, the metal hoods, roofs, bumpers and doors are canvases for my photographic “paintings.” Their bright colors, scrapes and dents speak to me and present enigmatic landscapes of the imagination, refracting reality, waiting quietly in plain sight to be discovered by those who are willing to slow down and observe these hidden vistas in a busy world.

As a photojournalist in NYC, Laurie Peek has covered issues like toxic dumps, crime, politics, negligent landlords, as well as anti-nuke and other protest movements for publications that included The Village Voice, Brooklyn Paper, City Limits, The Progressive and New York Times. Peek has exhibited widely in the Hudson Valley and New York City metro area, where she is active in local civic and environmental causes. She holds an MFA in Photography from the Visual Studies Workshop/SUNY Buffalo.

Ceaphas Stubbs: Head Over Heels, 2014


Ceaphas Stubbs’ photographs are an exploration in narrative weight and meaning, as well as black sexuality and pleasure. His works function in a space at the intersection of photography, sculpture and painting, where the images move back and forth between different meanings. His compositions rely on the principles of sculpture such as volume and gravity, principles of photography such as light and perspective, and principles of painting such as color. The painterly quality is both a critique and a declaration of the power and value of iconography, while the three dimensionality of the photographs is an invitation for conversation; an entry point to investigate associations and signifiers that subvert ritual and evoke nuance through color, space and imagery.

Ceaphas Stubbs earned a BA from Rutgers University and an MFA from the University of Pennsylvania. He completed a residency at Skowhegan School of Painting & Sculpture. He was the recipient of a Christopher Lyon Memorial Award in 2013 and was nominated for the Dedalus Foundation MFA Fellowship. In 2013, Stubbs gave artist talks at the SALT Institute in Beyoğlu District, Istanbul, Turkey, and at the Institute of Contemporary Art in Philadelphia. His works have been reviewed in the New York Times, EXPOSE and AGAVE Magazine. In 2016, Stubbs had his first international exhibit at the Czong Institute for Contemporary Art (CICA) Museum in South Korea. Since 2014 Stubbs has taught photography, animation and digital media at Brookdale College, the Visual Arts Center of New Jersey and Lycoming College.

Ayumi Tanaka: Canon, 2015


“At times in my day-to-day life, I find myself stumbling over reminders of days gone by. Partly formed of memory rise up from a forgotten abyss within, surrounding me like a powerful fragrance and rocking my emotions to the core. In these moments, I am seized with the desire to gather and collect, to retrieve what has been lost and weave it into something whole. I spent my childhood in a small village in the mountains of Japan. As a child, I ached to leave my home, to become an adult and discover the person I truly was. I dreamed of taking myself to a place where I was known by no one, where I could sing and dance to my heart’s content without interruption. Now that I am no longer a child, it has occurred to me how this desire has led me to abandon traces of my past, effectively unmarking myself with the scent of my own recollection. My aim with this project is to reconstruct the half-remembered memories of my childhood based on clues from the emotional elements associate with my childhood memories, as well as the symbols that exist in photographs I keep as mementos. Three-dimensional dioramas, composed of overlapping multiple layers of photo collages, have been assembled and photographed to illustrate landscapes of my memory.”

Ayumi Tanaka’s work has been shown internationally at exhibitions including United Photo Industries Gallery, Tokyo Institute of Photography, Pictura Gallery, LOOK3 festival of the Photographs and Athens Photo Festival. Her work has been published numerous magazine including at New York Times, Blow Photo, PHat Photo, Lettre International, LensCulture, GUP Magazine and Feature Shoot. She was awarded an ICP Director Fellowship in 2010, Grand prix at Tokyo International Photography Competition 2013, Photolucida Critical Mass Top 50 and Feature Shoot Emerging Photography Award 2014, PDN’s 30 2016 New and Emerging Photographer to watch and New York Art Foundation Fellowship 2016. She received a BFA from Osaka University of Arts in Japan and studied at the International Center of Photography. She lives and works in NYC.