Portfolio Intercontinental Sculpture No.3 - John Greer

portfolio
intercontinental
JOHN GREER
Portfolio of selected work available
(located in Canada)
February 2021
(prices on request)
Sculpture
No. 3
info@intercontinentalsculpture.com
GREER
www.artistjohngreer.com
www.intercontinentalsculpture.com

This online brochure was created to showcase a selection of work by
the artist John Greer. Please contact us directly if you are interested in
acquiring a sculpture, want to exhibit it or have any other questions. We
will be happy to hear from you.
All works in this edition of portfolio Intercontinental Sculpture No.3
are by the artist John Greer. These works are available from our location
in Atlantic Canada.
All images and texts are © Intercontinental Sculpture Inc. unless
otherwise noted on the individual pages.
Phone contact Canada:
v: +1.902.766.0212
c Canada: +1.902.212.0150
Phone contact Europe:
c Italy: +39.327.434.9519
c Germany: +49.(0)175.429.6104
info@intercontinentalsculpture.com
www.artistjohngreer.com
www.intercontinentalsculpture.com
JOHN GREER

Gravity, 1998
Bronze, 96” x 22” x 6” (244cm x 56cm x 15cm)
This work is a metaphor symbolizing human pathos. It is a
gesture of a salutation to life.
(enquire)
JOHN GREER

The Cosmic Fish
Black African Granite, various dimensions depending on pool size,
Sculpture is about 8 feet by 5 feet, 15 inches high.
The shape of the cosmos is unknown. This sculpture is a possible shape for the cosmos.
(enquire)
JOHN GREER

Plumb
Granite, 236 x 53.5 cm diam. / 93 x 21 in diam.
Thinking of one’s point of balance being projected to the center of the earth.
(enquire)
JOHN GREER

Life Source, 2011 (Installation as Fountain)
Edition of 2; Bronze, 38” x 27” x 8” (96cm x 68cm x 20cm)
Installation as a fountain with a water pump.
(enquire)
JOHN GREER

Rose of Verona Rose 1 + 2
Red Marble from Verona, Each 44” long and 22” high
(enquire)
JOHN GREER

Rose Table, 1995
Tabletop dimensions: 38” x 42”
Rose 24” long x 16’ wide x 11.5” high
made of Porphyry
(enquire)
JOHN GREER

The Source, 2009
Edition of 2; Bronze, 38” x 27” x 8” (96cm x 68cm x 20cm)
(enquire)
JOHN GREER

Receding, 2007
Texas Limestone, 7 feet high, 38 inches wide, 16 inches deep
The Stone is exposing the ancient seabed - thus the Kore is receding into the far
distant past.
Time’s unfolding adds material density to the world. We are of the world, not on the
world. Our unfolding presence adds to this a-massing of matter.
(enquire)
JOHN GREER

JOHN GREER

Thinking Back to Gertrude and Henrie, 2015
4 patinated bronze elements; each 48cm x 12cm x 51cm high
Base: plywood painted with rust paint, 200cm x 30cm x 140cm
This sculpture is conceptually tying into art history by referencing Gertrude Stein
and Henrie Matisse in a playful, yet profound way. Layers of meaning accompany
a strong visual and haptical presence.
The back becomes a metaphor for resilience.
(enquire)
JOHN GREER

JOHN GREER

Reproduction, 2007
( Hiroshima - Texas Limestone, 2007 and "Take off, little boy!", 2007 )
Two elements:
Hiroshima - Texas Limestone, 2007
Texas Limestone, 48” x 39” x 3” (122cm x 99cm x 7.5cm)
“Take off, little Boy!”, 2007
Polystyrene, epoxy, Texas sand; 48” x 39” x 3” (122cm x 99cm x 7.5cm)
(enquire)
The nuclear bomb was developed on and from the body of human knowledge that goes back in time to
the beginning of human consciousness and the desire to share what we discover. This sharing is by nature
political. The origami paper crane has been adopted internationally as a peace sign of protest or
acknowledgement of the madness herein. The source object is known as the “Berlin Mourning Scene”,
an Egyptian funeral depiction (Detail) from ca. 1330 BC.
This two-part work is composed of a replication of an Egyptian relief carved with an added paper crane
from Texas limestone. (The stone is the same age and colour as Egyptian limestone.) The second element
is a reproduction of this stone in polystyrene and named after the second dropped atomic bomb “Little
Boy”. This element was made to look older and more “authentic”, in a way asking for closer scrutiny.
We live in an age when scepticism is a necessity and close scrutiny is a matter of our very survival.
JOHN GREER

Time Keeper, 2012
Steel, bronze, wood; 96" x 36" x 66"
The only way forward is looking backward. Time is our framework; history contained,
kept and taken forward on the unfolding present journey. This is a model
of the resolute necessity of maintaining history as our guardian. It is based roughly
on an archaic urn from China B.C.
(enquire)
JOHN GREER

JOHN GREER

JOHN GREER

Facing East, 2009
Marble, Turkish Travertine, 90cm x 60cm x 365cm (35” x 24” x 144”)
Based on an existing Greek archaic sculpture, this is one of four sculptures I have referenced to represent
the cardinal point of direction, North, South, East and West. I use these figures symbolically like icons,
markers of the beginning of Western culture.
These half figures with flat plains frontally have the appearance of silhouettes. One can travel infinitely
East or West unlike North and South, which have points of arrival. The figure “Facing East “ is carved from
white Italian statuario and stands on a door sized block of Turkish travertine, Turkey being the so-called
doorway to the East. This piece is to be installed facing the East compass point. Posing the geo-political
question of what is now east and west and how relevant this question is or the division of the earth.
(enquire)
JOHN GREER

Res Ipsa Loquitur! 2005 - 2009
Italian Marble, Travertine; 5’ x 2’ x 5’ (150 x 60 x 150 cm)
The source imagery is from the remnants of a temple that was recently unearthed on the Northeastern
side of the Aegean Sea. It was destroyed in the 4th Century AD when Christianity replaced
paganism as the official religion of the Roman Empire.
“Res Ipsa Loquitur!” is a reflection or a reminder of the responsibility and the precarious nature of
political power. The rise and the fall of Rome is still the benchmark for Western power. In the shadow of
manned spaceflight, our answers can’t come from the past. We have to let go in order to move forward:
remembering the past, but not applying it as a model of the future. We have entered a new age.
Our use of the planet speaks for itself, just as the use of power speaks for itself.
(enquire)
JOHN GREER

(enquire)
JOHN GREER
Money Wagon, 2013
Installation View “retroActive” at the AGNS, Halifax, NS
Canada, 2015
Iranian Travertine, 168.5cm x 35cm x 143cm / 66" x 14" x 56"
This work is based on an ancint Whu Shu Coin from
China. It is carved from Iranian Travertine. It will be installed
leaning agains a wall.
"With my money works I am thinking a lot about value
systems regarding ART and life and ideas within objects ... and
objects as carriers of ideas of value." John Greer.

North / South Dialogue, 2008-2009
Marble, Granite base; 114cm x 80cm x 197cm (45” x 31” x 78”)
In this work the backs of 2 figures are carved out of a grey Italian marble. The imagery is sourced
from archaic Greece. The figures are face-to-face but not eye-to-eye, expressing the always-difficult
dialogue – the human dynamic of trying to understand the other.
JOHN GREER
(enquire)

JOHN GREER

JOHN GREER

Civilization, 1990 - 1991
Italian Marble;
Femur 205 x 73 x 50 cm (81 x 29 x 20 inches),
Jaw 111 x 66 x 35 cm (44 x 26 x 14 inches),
Scull cap 152 x 109 x 66 cm (60 x 43 x 26 inches),
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
5 inches),
Rib 203 x 27 x 20 cm (80 x 11 x 8 inches),
5 small parts in various sizes (enquire)
The image is of fragments of human bones, seemingly scattered (arranged) on ground level - 12 fragments
in total (beginning weight approximately 7 tons, of Carrara marble), 5 pieces reminiscent of bone chips and
7 specific and recognizable as the brain case/skull cap (Mentality), the top half of the femur (Upright Mobility),
the last or bottom floating rib (Breath or Spirit), one half of the jaw (Verbal Communication), and the
three sections of the thumb (Dexterity or Industry). These are very obviously human-made in human image
and not meant to be understood as gigantic human bones.
The psychological authority of scale is of fundamental importance in this work, where the familiar image
scale is changed, and yet the familiar relationship with objects is maintained within the experienced field.
The relationship with the thigh bone, for instance, is like that with a fallen tree trunk on which one could
sit.
The piece is about history and the passage of time.
JOHN GREER

Threshold, 2015
Aluminium, mirror, slate,
plywood, gold paint;
81cm x 107cm x 213cm /
33” x 42” x 84”
(enquire)
JOHN