Signed, titled and dated on the reverse
In continuing to push his own language, one of Greaves' most powerful recent achievements is his use of a bar that runs horizontally across several large-scale paintings.
This shelf-like structure runs through Border (1997) allowing Greaves to situate still-life objects without having to present a table-top or locate subjects without the need for a horizon line. The result objectifies each element, even giving substance to the insubstantial, whether it is a flower, a sculpture, a tree or even the sun:
I like formal structures that can do more than one job in a painting. I like the viewer to be led beyond the painting only to come back to it. So the single bar passing through the picture is like a continuous shelf in the mind. I also like the way the bar acts chromatically. It allows one to pitch the line to a different key from the objects on the line.Border Greaves presents a row of African spearheads, which previously he had drawn at the Museum of Mankind, London.
Literature
Derrick Greaves: Paintings and Drawings 1952 - 2002, James Hyman Gallery, London, 2003, (cat. 46), illustrated p.39.
James Hyman, Derrick Greaves: From Kitchen Sink to Shangri-La, Lund Humphries, London 2007, illustrated p.150.