Awakening to Infinitiy, 1998

Russian limestone (large component), Italian marble (small component). Combined: 
30 x 36 x 144“ (76 x 92 x 360 cm), Small piece: 26 x 10 x 12“ (65 x 26 x 30 cm)


„Awakening to Infinity“ is composed of two elements. One element is based on a fragment of a prehistoric cycladic figurine. The up-scaled fragment is a typical head of a canonic figure with a pair of feet placed on its forehead. The broken surface on their edge is similarly rough to the broken neck of the head, alluding to a missing part.

The second element is an enlargement of a chrysalid at the stage when the moth’s wings are beginning to emerge. It is large enough to hold the projection of a person in its form.

The two parts are placed 5 feet apart and respond visually to each other through the mental projection of the suggested potential of the shapes. The piece relates to other works like „Prehistory“ and „Vortiginous“ in its definition of memory in form, addresses an awareness of timelessness and identity.


This piece is in reference to Robert Graves poem: The Cabbage White which was commissioned by MIT to introduce their Art program.


Flying Crooked


By Robert Graves




The butterfly, a cabbage-white,

(His honest idiocy of flight) 

Will never now, it is too late, 

Master the art of flying straight, 

Yet has - who knows so well as I - 

A just sense of how not to fly: 

He lurches here and here by guess 

And God and hope and hopelessness. 

Even the acrobatic swift 

Has not his flying-crooked gift.



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Installation View retroActive with Threshold, 2015; Civilization, 1990/91; PaperMoney, 2012
Wait of Water by John Greer, 2014 Bay of Fundy Detail of Wait of Water, October 9th, 2014; retroActive tied up, tide down, looking back across the bay where the piece was first realized in 1972
National Gallery of Canada : THE PROUST QUESTIONNAIRE
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