Portfolio Intercontinental Sculpture No.3 - John Greer

Portfolio showcasing a selection of sculpture by the artist John Greer. This is an excellent opportunity to acquire original pieces of Award winning Canadian sculptor John Greer. Please inquire.

Portfolio showcasing a selection of sculpture by the artist John Greer.
This is an excellent opportunity to acquire original pieces of Award winning Canadian sculptor John Greer. Please inquire.


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portfolio<br />

intercontinental<br />


<strong>Portfolio</strong> of selected work available<br />

(located in Canada)<br />

February 2021<br />

(prices on request)<br />

<strong>Sculpture</strong><br />

No. 3<br />

info@intercontinentalsculpture.com<br />

GREER<br />

www.artistjohngreer.com<br />


This online brochure was created to showcase a selection of work by<br />

the artist <strong>John</strong> <strong>Greer</strong>. Please contact us directly if you are interested in<br />

acquiring a sculpture, want to exhibit it or have any other questions. We<br />

will be happy to hear from you.<br />

All works in this edition of portfolio <strong>Intercontinental</strong> <strong>Sculpture</strong> <strong>No.3</strong><br />

are by the artist <strong>John</strong> <strong>Greer</strong>. These works are available from our location<br />

in Atlantic Canada.<br />

All images and texts are © <strong>Intercontinental</strong> <strong>Sculpture</strong> Inc. unless<br />

otherwise noted on the individual pages.<br />

Phone contact Canada:<br />

v: +1.902.766.0212<br />

c Canada: +1.902.212.0150<br />

Phone contact Europe:<br />

c Italy: +39.327.434.9519<br />

c Germany: +49.(0)175.429.6104<br />

info@intercontinentalsculpture.com<br />

www.artistjohngreer.com<br />

www.intercontinentalsculpture.com<br />


Gravity, 1998<br />

Bronze, 96” x 22” x 6” (244cm x 56cm x 15cm)<br />

This work is a metaphor symbolizing human pathos. It is a<br />

gesture of a salutation to life.<br />

(enquire)<br />


The Cosmic Fish<br />

Black African Granite, various dimensions depending on pool size,<br />

<strong>Sculpture</strong> is about 8 feet by 5 feet, 15 inches high.<br />

The shape of the cosmos is unknown. This sculpture is a possible shape for the cosmos.<br />

(enquire)<br />


Plumb<br />

Granite, 236 x 53.5 cm diam. / 93 x 21 in diam.<br />

Thinking of one’s point of balance being projected to the center of the earth.<br />

(enquire)<br />


Life Source, 2011 (Installation as Fountain)<br />

Edition of 2; Bronze, 38” x 27” x 8” (96cm x 68cm x 20cm)<br />

Installation as a fountain with a water pump.<br />

(enquire)<br />


Rose of Verona Rose 1 + 2<br />

Red Marble from Verona, Each 44” long and 22” high<br />

(enquire)<br />


Rose Table, 1995<br />

Tabletop dimensions: 38” x 42”<br />

Rose 24” long x 16’ wide x 11.5” high<br />

made of Porphyry<br />

(enquire)<br />


The Source, 2009<br />

Edition of 2; Bronze, 38” x 27” x 8” (96cm x 68cm x 20cm)<br />

(enquire)<br />


Receding, 2007<br />

Texas Limestone, 7 feet high, 38 inches wide, 16 inches deep<br />

The Stone is exposing the ancient seabed - thus the Kore is receding into the far<br />

distant past.<br />

Time’s unfolding adds material density to the world. We are of the world, not on the<br />

world. Our unfolding presence adds to this a-massing of matter.<br />

(enquire)<br />



Thinking Back to Gertrude and Henrie, 2015<br />

4 patinated bronze elements; each 48cm x 12cm x 51cm high<br />

Base: plywood painted with rust paint, 200cm x 30cm x 140cm<br />

This sculpture is conceptually tying into art history by referencing Gertrude Stein<br />

and Henrie Matisse in a playful, yet profound way. Layers of meaning accompany<br />

a strong visual and haptical presence.<br />

The back becomes a metaphor for resilience.<br />

(enquire)<br />



Reproduction, 2007<br />

( Hiroshima - Texas Limestone, 2007 and "Take off, little boy!", 2007 )<br />

Two elements:<br />

Hiroshima - Texas Limestone, 2007<br />

Texas Limestone, 48” x 39” x 3” (122cm x 99cm x 7.5cm)<br />

“Take off, little Boy!”, 2007<br />

Polystyrene, epoxy, Texas sand; 48” x 39” x 3” (122cm x 99cm x 7.5cm)<br />

(enquire)<br />

The nuclear bomb was developed on and from the body of human knowledge that goes back in time to<br />

the beginning of human consciousness and the desire to share what we discover. This sharing is by nature<br />

political. The origami paper crane has been adopted internationally as a peace sign of protest or<br />

acknowledgement of the madness herein. The source object is known as the “Berlin Mourning Scene”,<br />

an Egyptian funeral depiction (Detail) from ca. 1330 BC.<br />

This two-part work is composed of a replication of an Egyptian relief carved with an added paper crane<br />

from Texas limestone. (The stone is the same age and colour as Egyptian limestone.) The second element<br />

is a reproduction of this stone in polystyrene and named after the second dropped atomic bomb “Little<br />

Boy”. This element was made to look older and more “authentic”, in a way asking for closer scrutiny.<br />

We live in an age when scepticism is a necessity and close scrutiny is a matter of our very survival.<br />


Time Keeper, 2012<br />

Steel, bronze, wood; 96" x 36" x 66"<br />

The only way forward is looking backward. Time is our framework; history contained,<br />

kept and taken forward on the unfolding present journey. This is a model<br />

of the resolute necessity of maintaining history as our guardian. It is based roughly<br />

on an archaic urn from China B.C.<br />

(enquire)<br />




Facing East, 2009<br />

Marble, Turkish Travertine, 90cm x 60cm x 365cm (35” x 24” x 144”)<br />

Based on an existing Greek archaic sculpture, this is one of four sculptures I have referenced to represent<br />

the cardinal point of direction, North, South, East and West. I use these figures symbolically like icons,<br />

markers of the beginning of Western culture.<br />

These half figures with flat plains frontally have the appearance of silhouettes. One can travel infinitely<br />

East or West unlike North and South, which have points of arrival. The figure “Facing East “ is carved from<br />

white Italian statuario and stands on a door sized block of Turkish travertine, Turkey being the so-called<br />

doorway to the East. This piece is to be installed facing the East compass point. Posing the geo-political<br />

question of what is now east and west and how relevant this question is or the division of the earth.<br />

(enquire)<br />


Res Ipsa Loquitur! 2005 - 2009<br />

Italian Marble, Travertine; 5’ x 2’ x 5’ (150 x 60 x 150 cm)<br />

The source imagery is from the remnants of a temple that was recently unearthed on the Northeastern<br />

side of the Aegean Sea. It was destroyed in the 4th Century AD when Christianity replaced<br />

paganism as the official religion of the Roman Empire.<br />

“Res Ipsa Loquitur!” is a reflection or a reminder of the responsibility and the precarious nature of<br />

political power. The rise and the fall of Rome is still the benchmark for Western power. In the shadow of<br />

manned spaceflight, our answers can’t come from the past. We have to let go in order to move forward:<br />

remembering the past, but not applying it as a model of the future. We have entered a new age.<br />

Our use of the planet speaks for itself, just as the use of power speaks for itself.<br />

(enquire)<br />


(enquire)<br />


Money Wagon, 2013<br />

Installation View “retroActive” at the AGNS, Halifax, NS<br />

Canada, 2015<br />

Iranian Travertine, 168.5cm x 35cm x 143cm / 66" x 14" x 56"<br />

This work is based on an ancint Whu Shu Coin from<br />

China. It is carved from Iranian Travertine. It will be installed<br />

leaning agains a wall.<br />

"With my money works I am thinking a lot about value<br />

systems regarding ART and life and ideas within objects ... and<br />

objects as carriers of ideas of value." <strong>John</strong> <strong>Greer</strong>.

North / South Dialogue, 2008-2009<br />

Marble, Granite base; 114cm x 80cm x 197cm (45” x 31” x 78”)<br />

In this work the backs of 2 figures are carved out of a grey Italian marble. The imagery is sourced<br />

from archaic Greece. The figures are face-to-face but not eye-to-eye, expressing the always-difficult<br />

dialogue – the human dynamic of trying to understand the other.<br />





Civilization, 1990 - 1991<br />

Italian Marble;<br />

Femur 205 x 73 x 50 cm (81 x 29 x 20 inches),<br />

Jaw 111 x 66 x 35 cm (44 x 26 x 14 inches),<br />

Scull cap 152 x 109 x 66 cm (60 x 43 x 26 inches),<br />

Thumb bones 50 x 25 x 15 cm (20 x 10 x 6 inches), 35 x 27 x 15 cm (14 x 11 x 6 inches),25 x 17 x 12 cm (10 x 7 x<br />

5 inches),<br />

Rib 203 x 27 x 20 cm (80 x 11 x 8 inches),<br />

5 small parts in various sizes (enquire)<br />

The image is of fragments of human bones, seemingly scattered (arranged) on ground level - 12 fragments<br />

in total (beginning weight approximately 7 tons, of Carrara marble), 5 pieces reminiscent of bone chips and<br />

7 specific and recognizable as the brain case/skull cap (Mentality), the top half of the femur (Upright Mobility),<br />

the last or bottom floating rib (Breath or Spirit), one half of the jaw (Verbal Communication), and the<br />

three sections of the thumb (Dexterity or Industry). These are very obviously human-made in human image<br />

and not meant to be understood as gigantic human bones.<br />

The psychological authority of scale is of fundamental importance in this work, where the familiar image<br />

scale is changed, and yet the familiar relationship with objects is maintained within the experienced field.<br />

The relationship with the thigh bone, for instance, is like that with a fallen tree trunk on which one could<br />

sit.<br />

The piece is about history and the passage of time.<br />


Threshold, 2015<br />

Aluminium, mirror, slate,<br />

plywood, gold paint;<br />

81cm x 107cm x 213cm /<br />

33” x 42” x 84”<br />

(enquire)<br />


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