Yearning for Touch – A Photo Essay

In her article “Yearning for Touch – A Photo Essay,” visual artist Cherine Fahd reflects on her COVID-19-inspired performance A Proxy for a Thousand Eyes, documented by photographer Pamela Pirovic. Debuted at the Sydney Opera House, Fahd’s performance explored the barriers to touch during the pandemic, brought on by self-isolation. Participants engage with each other while standing on opposite sides of a thin plastic screen. The performance blurs the line between artist and audience, encouraging participants to mimic Fahd’s movements. The plastic screen acts both as a barrier and a connector, symbolizing the shift to virtual interaction during the pandemic.

The longing for touch, amplified by a year of isolation, contrasts with the dangers of physical contact amid COVID-19. The plastic screen’s dual function, as both a separator and an illusion of closeness, evokes the paradox of pandemic protocols: while patients were isolated and masked in hospitals, society gradually released them into public spaces, often without the same vigilance. Though performed during lockdown, Fahd’s piece allowed participants to invade the personal space of their partner—an act previously restricted by social-distancing measures. The work underscores the critical role of touch and connection for well-being and the deep frustration of its absence during the pandemic’s early months.