Fellowship 18 honorable mentions

Fellowship is Silver Eye's international juried photography competition. This competition recognizes both rising talent and established photographers from all corners of the globe and from the state of Pennsylvania. Our 2018 Jurors Lucy Gallun, Assistant Curator of Photography at MoMA, and Melissa Catanese, Co-Founder of Spaces Corners, selected five Honorable Mentions for the categories of International Prize Winner, Keystone Prize Winner and our new Publication Prize Winner.


International Prize Honorable Mentions

Selected from artists working across the United States and abroad

Untitled (Christmas Card), archival inkjet print, 2017

Buck Ellison

Buck Ellison's photographs examine the habits of liberal, white, upper class America. This is an elite defined by its progressive politics and social conscience, but it's an elite nonetheless. Ellison turned to photography as his subjects seemed to actively resist their own depiction. In a society that is formally deomcratic and egalitarian, no one wants to show you the mechanisms that preserve privledge.


Cleaning Cod, Greenspond, Newfoundland, 2017, archival inkjet print

Ryan Arthurs

For the past three years, Ryan Arthurs has been photographing thresholds.  On Newfoundland Island; Cape Breton, Nova Scotia; and the Isles of Skye and Eigg, Scotland. He has recorded remote, outport communities that, in the modern age of globilization, remain isolated. These islands are situated between worlds, both geographically and metaphorically. They've come to embody the old and the new, spaces where time collapses, where past and present collide.


Full Circle, 2017, Impossible Instant Film

Corey Escoto

Corey Escoto's series Deep Trouble highlights a fascination with the influence of the Hollywood film industry, the mainstream media, and their connection to the governing political apparatus. Escoto's work begins with a series of 8x10 Polaroid prints which are made through a process of cutting and registering stencils, in camera, and sequentially exposing the entire film, to engineer graphic and photographic illusions of space, form, and text. These laboriously crafted photographs subvert their own instantaneity and further the longstanding dialogue between the mediums of painting and photography. 


Shadow (Mother Dancing), 2017, Archival Inkjet Print


Amiko Li's series, Echo, Shadow, Translation presents an aleatoric approach to Chinese vernacular culture through strategies of correspondence, reenactment, exchange and mistranslation. Working as a fine art photographer in the days of social media where images are endlessly proliferated, Li strives to navigate among many complex questions of appropriation, distribution

  Untitled, Hopewell, Pennsylvania 2014,  2014/2017, archival inkjet print

Untitled, Hopewell, Pennsylvania 2014, 2014/2017, archival inkjet print


Mark Davis' series Constellations is a meditation on the death of his father, who died in a plane crash in Hopewell, PA. Davis' project navigates the complicated relationship between memory, time, and place by interweaving made photographs, newspaper clippings, video stills, family photos, yearbook spreads, and personal writing. 



Window with Plant, 2014, Acrylic, Unique Pigment Print, Aluminum, Museum Board


Micah Danges' drive to take photographs is rooted in the unpredictability of such a seemingly predictable process. Using the precision of the camera in conjunction with the limitations of its mechanics, Danges generates a series of inspiring problems to solve. This shift compels Danges to slow down, study the printed image and isolate key moments of transformation.


Untitled, 2017, 2017, archival pigment print


The photographs in How To Go Home  exist at the intersection of rivers and highways, somewhere between stripmalls and stripmines, and within the working-class communities that live there. This work is not only concerned with the Rust Belt or with Appalachian values, but with the patchwork legacy of rural life. Where people have made their homes in the spaces formerly reserved for energy production, where they are just getting by.


Ice Bath, Field Artillery Advanced Individual Training, Fort Sill, Oklahoma, 2016, archival Pigment Print


Keith Yahrling's series, The Sound of Artillery on the Prairie, follow's the artist's project of exploring the site his father was stationed at before before being deployed to Vietnam. Nearly 50 years later, soldiers train at Fort Sill in much the same way they did when his father was there. Looking at the cyclical actions of current soldiers at Fort Sill, Yahrling uses their experiences to reimagine his father’s time on base while training there.

  Myha’la Waiting , 2017, 120mm Digital Scan 

Myha’la Waiting, 2017, 120mm Digital Scan 


Jenna Houston's series Homesweet has centered around documenting Pittsburgh’s diverse queer community, in their homes away from outside performance and projection, while also addressing Pittsburgh’s lack of gay spaces or a neighborhood. These photos are made in conjunction with each subject’s ideas, and the images are shot with medium-format color film to give the queer community the materials and time they deserve, but are rarely afforded.

124/365 The hardest thing I ever did was... Survive my Childhood., 2015/2017, archival inkjet print


Through self-portraits, Elena Bouvier shares her story of personal growth and transformation. The artist makes self-portraits for all of the ubiquitous and psychological reasons that humans have rendered their own image for centuries; to prove that we exist. Unlike today’s “selfie” craze, often presenting false personas of perfection, her self-portraits are starkly honest and vulnerable.



Untitled, 2017, archival inkjet print

Finisterrae in the ancient times it was believed to be the end of the known world. To Michel Palazzi, that is how it feels when moving around Southern Portugal or, more precisely, the region that in the ancient Roman era was known as ‘Lusitania’. The residents of this outskirt of the European Union are forgotten, as if they are living in continuous conflict with the South European’s glorious past. There is still an omnipresent esoteric ‘fume’ that surrounds former ‘Lusitania’, as reflected in the minds of its inhabitants; in the myths and beliefs that are being passed from one generation to the next.

Chandelier, 2000/2017, silver gelatin print

“The Model Family,” is Tealia Ellis Ritter's ongoing series of images of her immediate family. The title of the work is a play on words referencing both the role family members assume as the models for the portraits, as well as hinting at both the notion of what a perfected or “model” family would or wouldn’t look like and the most basic employment of photography in our culture, as a tool to create a record of our intimate lives.

  Prepared Area , 2017, archival inkjet print

Prepared Area, 2017, archival inkjet print

These photographs are part of Nathan Alexander Ward's ongoing series of examinations into near familiar objects and spaces and the aspect of communication that they assert. The familiarity of these things may not simply result from identifying properties which are readily visible but instead from recognizing the uncertainty which those things are enveloped by. These photographs act like words caught in the gaps of an interrupted message, bending to the intelligible facts that exist immediately surrounding them