It’s that last tidbit — long assumed by those who spend much time thinking about it — that makes this annual tradition most interesting. The fascination goes beyond amazement at the increasingly brazen and difficult nature of some of the displays — hanging a heart on Fort Gorges (the same night a Casco Bay ferry reported just barely avoiding running over a small boat containing as many as seven people), running a flag up the Central Fire Station flagpole, hanging huge banners from the Portland Museum of Art and the Gulf of Maine Research Institute. The mystery surrounding the Phantom/Bandit’s secret identities is an integral part of the tradition.
If there were just one person involved, the secret could be easily kept, even for more than 30 years. But if six people helped in 1979, how many more have participated over the years? How many of them have roommates, partners, parents, children who might have noticed a door opening and closing late on Valentine’s Eve?
There are a lot of people who claim to know someone who is involved; we’ve talked with dozens of them this week. Perhaps we have actually talked to the Phantom him- or herself, but nobody admitted anything. That’s the most fascinating part of the secret — we’re keeping it from ourselves. We really don’t want to know.
“Historically, graffiti has been about fame,” says local legal-graffiti artist Tim Clorius. (He denies being part of the Phantom group or even knowing anyone who is; we are pretty sure we believe him.) Graffiti artists seek to get their tags in as many visible public places as possible, earning props from peers for particularly difficult-to-reach or especially prominent spots. But in this effort, the tag being distributed is simply a heart, making the anonymity itself the art.
Clorius sees the hearts as a suggestion for something more. He would love to see small, simple, non-destructive works of art all over the city. There is potential, Clorius says, for “all this site-specific work” to move beyond the basic, friendly message of a red heart on Valentine’s Day and raise deep, pressing questions about our society.
The Phantom’s pioneering work in this realm has made for us a model of direct artistic action, aimed dead-on at the general public — unfiltered by the media or a gallery — and with a message whose impact is heightened by serendipity.
