phaino: ‘to bring to light; make known; bring to action’.
This sculpture is based on the character Circe, the goddess who transforms Odysseus’ men into swine on the island of Aeaea, and instructs him to travel to the underworld in the Odyssey. It forms part of the series A Catalogue of Shapes and was constructed from a Bundt mould, outside spring calliper, Burmos camping stove, lamp burner border, ribbed and cup-shaped lamp holder components, brass washers, brass latches, wood (Obeche), and enamel paint. The Bundt mould was painted to emphasize its moulded patterning. The screw and spring of the calliper were removed and the arms painted green. The external features on the tank of the camping stove were retained and, with the exception of a horizontal painted band, the metal surface was left unpainted. The wood on the podium was waxed, and the frieze painted black. It measures 50.5 x 24.4 x 18cm.
Kirke ΦΑΙΝΩ front view
Homer describes Circe as a dangerous and generous hostess, with beautiful hair and a woman’s (as opposed to a goddess’s) voice. In the Odyssey, Circe has a transformative power which Odysseus neutralizes with Hermes’ help. She sends Odysseus to the underworld to consult Teiresias, who reveals that the hero’s nostos is (and will be) hindered by angered gods, but that he will eventually be reconciled with Poseidon. Circe represents the Homeric concept of the conflicting capacity of the gods as equally helpful or harmful.
Kirke ΦΑΙΝΩ rear view
This sculpture refers to Circe as initially endangering, before enabling, Odysseus’ passage, and the transformation of his interaction with the gods. The geometric markings in the mould are reductively transformative, while the central open space suggests the possibility of transition. The red radiating disc with a yellow core represents Circe’s origins as daughter of the sun, and the stove marks her as Calypso’s Sphinx-like ‘twin.’
