Making masks and the power of hands in a pandemic: across many generations of care, health and loss.
featured image: Janus interpretation of Esther’s work.
When the project began, Esther was already busy making face coverings for her family and friends. As an experienced seamstress she had sourced a really nice design, with a good shape, a removable nose grip and removable internal layer. This attention to detail, and level of care, is a good indicator of how Esther tackles everything, including the motif project. She began the project by drawing her own hands, doing ‘women’s’ tasks such as sewing, and the hands of loved ones. For her, they represent care, but nands also resonated with the fear that Covid was spread through touch, and the health directives to socially distance from each other and to wash our hands frequently.
Esther’s other interests included the Friary Hospitium, extending her theme of care and care-takers. The Hospitium provided a stopping-off-point for people on religious pilgrimage to Dunfermline, and for other travellers. Behind the Friary buildings, the site of the current parks and community garden, there would have been kitchen and physic gardens, growing plants to provide food and for medicinal purposes. The Friary sits atop a hill running down to Inverkeithing bay and harbour, and one thinks of supplies perhaps being taken down to the people on docked plague ships. The Friary is also just within the old town walls, where plague camps would squat, people quarantining and waiting to be allowed in to the town. Would they have been provided food by the Friary?
Esther’s work developed towards a sensitive interpretation of living during the Covid19 pandemic. She was interested in the idea of ‘memento mori’ and the way in which, in many eras, people have had to live with high mortality as a daily lived reality.