In continuing to push his own language, one of Greaves's most powerful recent achievements is his use of a bar that runs horizontally across several large-scale paintings.
This shelf-like structure runs through Laoc (2001), allowing Greaves to situate still-life objects without having to present a table-top or locate subjects without the need for an 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.The snakes of the famous Hellenistic sculpture dance with delight.