The Sculptor's Imprint, Part II at Flatbed Press Contemporary Printmaking

in Austin, Texas: John Greer is part of a group exhibition in which his

                                         Cosmic Fish

(above: Aquatint etching, 2007  Image and paper size: 35” x 56 1/2” ) is featured along with his series of  Paper Money.

The exhibition runs from September 5th to October 24th, 2026.

From the Press release: 

Austin, Texas — Flatbed Press presents The Sculptor’s Imprint: Part II, the second exhibition in a three-part series exploring the relationship between sculptural practice and printmaking. Throughout its history, Flatbed Press has welcomed sculptors into the collaborative environment of the print studio, where ideas rooted in three-dimensional form fi nd new expression on the printed plane. These collaborations demonstrate that printmaking is not simply a means of reproduction, but a medium of discovery. Here, sculptural thought is translated through line, tone, texture, pressure, layering, and the physical act of making an impression. In some works, the sculptural object itself becomes the matrix, collapsing the distinction between sculpture and print. The Sculptor’s Imprint: Part II brings together prints by John Greer, Hollis Hammonds, Beili Liu, Beverly Penn, and Joan Winter, fi ve artists whose practices move fl uidly between sculpture, drawing, installation, and works on paper. Although their approaches and imagery differ, each brings to printmaking a heightened awareness of material, structure, space, and the physical presence of things. In the work of these artists, the distinction between two and three dimensions is often deliberately unsettled. ... John Greer Canadian artist John Greer has spent decades exploring objects, materials, language, and the ways we assign meaning to physical forms. Moving from early work in painting and printmaking toward sculpture and conceptual practice, Greer has worked extensively in stone and bronze as well as with found and fabricated objects. His work can be playful and enigmatic, transforming familiar forms and images into objects that invite reconsideration. His prints retain this sculptural sensibility, giving weight and presence to images on a two-dimensional surface. 

... What makes the work so resonant now is precisely its temporal layering.

We stand in a period of acute anxiety about the nature of value: inflated currencies, speculative digital tokens, the hollowing of material things into financial instruments. Against this, Greer places something of almost provocative concreteness — a slab of ancient stone, hand-carved with the shapes of seven animal skins, sitting thirty centimetres above the ground in real space to be navigated.

The work does not argue a position. It holds the memory of value in a form that has outlasted every economic system ever devised, and asks the viewer to reckon with what that means. (...)  see also: Idea Made Permanent

Portrait of John Greer in the jaw of his work Civilization. 

Read mor about it here: Bones of the Idea. 

Image by Raoul Manuel Schnell.