Mythical creatures embody a variety of fears: the potential of chaos to overcome order, of irrationality to prevail over reason, the potential victory of the earthen wild over the encroaching civilizations of mankind. They arise from the desire to domesticate and disempower what a dominant culture finds threatening. Also known as Pan, the faun was the Greek god of the wild, masculine fertility, and sexuality. Simultaneously sinister and prophetic, he frolicked with nymphs and protected the forest.

In The Faun this effigy is used to explore how power has been built and held through mythologies and how it might transform. As a famous example of the canonization of a mythical creature into western ideology, the work begins with a reconstruction of the ballet L’Après Midi d’un Faune by Vaslav Nijinsky – an entry point to the re-appropriation and transformation of this sneaky goat-god. From there, the work deals with the movement of molding and becoming, a study in transformation and, when taken, the agency therein, a mash-up between magic, mythology and how power moves through the beat of a beast.