“97” takes us back into the past, to the 1950s in Vietnam. The image is like a frame from a film, or a vignette in the life of a child and her family. Presents the viewer with a world of many facets and interpretations. The smoke and the decay of the building add layers of authenticity to the scene. What is the man looking at out of his window? The question sparks a narrative that begins in house 97.

Joël Sueur’s other submissions share a similar inscrutable quality—narratives caught in fleeting moments. Children returning from school to an old house, a woman in window adorned by a skull, each moment a glimpse as surreal as the last.
Lukasz Palka