Fallen Fruit by Julie Fowells

The distinction between grief and depression might seem insignificant to some, but the chasm between the two is big enough for guilt and confusion to bounce around in the turbulence, gaining velocity until it’s almost hard to tell the difference. One mocks the other, as if it’s a competition to determine which is more painful. 

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The distinction between grief and depression might seem insignificant to some, but the chasm between the two is big enough for guilt and confusion to bounce around in the turbulence, gaining velocity until it’s almost hard to tell the difference.

One mocks the other, as if it’s a competition to determine which is more painful.  In reality, they just play into each other’s hands.  After the death of my mother, a life lost to Alzheimers, I grappled with both, which proved to be a debilitating combination.  After caring for her for so long I was too tired to feed myself and too sad to care.  I went through the motions of eating healthy food, tending to vegetables in my garden and shopping for what I couldn’t grow, but ultimately, most of it disintegrated, left on the vine to rot or abandoned in the crisper drawer.  “Fallen Fruit” is an ongoing series documenting things I’ve left behind, and a reflection of what I see though this crooked periscope of depression;  a life full of loss, a story of waste… a missed opportunity represented by what would have been savored, if only I’d been hungry enough to make it to the picnic.

At first glance images of rotten fruit allude to themes of food waste, and by proxy, food inequality, the environment and global hunger. There are so many things wrong with our broken food system that I’m constantly considering the repercussions of my own food choices.  The result of this practice:  I can’t help but document the produce that I’ve wasted —  misshapen, moldy, or disfigured —  like a catalog of failures, or a confession of my sins.

But upon inspection — or perhaps introspection — these forlorn subjects also suggest more intangible themes of transience and decay.  They seem dejected, eliciting a strange sense of misplaced empathy, and I find myself photographing them as though taking their portraits, attempting to lay bare the beauty of their intrinsic fragility.  Perhaps I find these objects so intriguing because the state feels somehow familiar.  Altered by time, imperfect by circumstance, I recognize my own vulnerability to the forces of nature in every defective piece of fruit.  [Official Website]

 

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Submission
Dodho Magazine accepts submissions from emerging and professional photographers from around the world.
Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted. This is the information you need to start preparing your project for its presentation.
To send it, you must compress the folder in .ZIP format and use our Wetransfer channel specially dedicated to the reception of works. Links or projects in PDF format will not be accepted. All presentations are carefully reviewed based on their content and final quality of the project or portfolio. If your work is selected for publication in the online version, it will be communicated to you via email and subsequently it will be published.
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