‘photosinthesis’ by Dorit Goldman

A small, poetic story from Dorit Goldman from her experience of her photographic series of tree roots, entitled, ‘photosinthesis.’


‘Root’ (2016) Dorit Goldman

My beloved pet was a Spanish moss. I placed it above my kitchen sink. Just in front of my kitchen window.

When it got unhappy and sick(ish), I took it out, and hung it on the back of A tree. That tree was blocking this same window. This way, I was able to enjoy its spread growth.

…That morning, I found my self-exposed to the street, in front of my own naked window. There was no tree. I ran out quickly and found it all chopped up neatly on the grass.

The luminance couple were very polite: “we knocked on your door,” one of them argued. I looked at my phone: it was 07:30am.

“I must have been asleep,” I answered with a blocked thought.

“The real estate demanded it to be removed,” they kept explaining while, hurting my eyes with their loud jackets. Apparently, there were two different experts who came specially to sign an important document. It concluded this fig tree was causing irreversible damage to the wall.


‘Keep’ (2016) Dorit Goldman

I went inside and called the agent. He kindly suggested: “we can install a blind and bars for you,” in a very reassuring voice. “But the tree was too young to make any damage to the building wall,” I kept moaning, “and there is damage on the other side of the building too.” I tried to keep arguing for this chopped up tree. It is most likely a damage caused by the recent floods.

“It is possible that its roots were blocking your sewer too,” the agent kept exhausting my thinks in a very professional manner, so I finally hung up.

Still haunted by unspeakable sin thesis.

-Dorit Goldman


‘Roots’ (2016), Dorit Goldman

photosinthesis“My MFA research paper is due mid next year..I’ve been hunting those tree roots shots for a long time now… I call my research paper: ‘artintimidatinglife.’ It evolved from the name, ‘whr.do.i.come.from | wht.m.i  | whr.m.i.going’ which is directly referring to French artist, Paul Gauguin’s painting , ‘Where Do We Come From What Are We Where Are We Going’. In 2013, I called my trees shots ‘tools’ but it evolved to a different name : ‘photosinthesis.’

It’s a bit of a long development and story but I can throw a small, poetic story around my experience of it all if you interested.”

-Dorit Goldman

Dorit Goldman is part of Enrgybirdz, the featured artists of Issue 20 of Rochford Street Review.

New Shoots Poetry Prize banner 2

This entry was posted in Dorit Goldman, Engrybirz, Issue 20 and tagged , , , , , by Zalehah Turner. Bookmark the permalink.

About Zalehah Turner

Zalehah Turner is a Sydney based poet, photographer, cultural journalist, and Associate Editor of Rochford Street Review (RSR). Zalehah regularly contributes articles and interviews on poetry, art, film, and new media for RSR and the UTS magazine, Vertigo. Zalehah’s poetry was projected onto the Federation Square Wall in Melbourne as part of the Overload Poetry Festivals, 2008 and 2009; exhibited at Mark and Remark ,107 Projects, Redfern in 2013; and displayed in Alice Springs and Moruya thanks to Australian Poetry Café poets, Laurie May and Janette Dadd respectively. Her poems have been published in Writing Laboratory (2013), Sotto (2013), Social Alternatives (2016), Vertigo (2016, 2017), UTS’s The Empathy Poems Project (2017) and Rochford Street Review (2017). She co-judged the New Shoots Poetry Prizes 2016 alongside, Tamryn Bennett, Artistic Director of The Red Room Company, and published the winning and highly commended poems. Zalehah is currently working on an intermedia poetry collection entitled, 'Critical condition', focused on the interstitial threshold between life and death in medical crises based on personal experience. Zalehah holds a BA in Communication with a major in writing and cultural studies from the University of Technology, Sydney where she continues to pursue pushing the boundaries of multimedia poetry in Honours (Communication- Creative Writing).

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  1. Pingback: Issue 20: October to December 2016 | Rochford Street Review

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