Greg Woodard Biography

Biography

Biography and Artistic Influences

Greg Woodard was born in Prescott Arizona in 1958. His mother used to tell him that he was “born under a cactus.” Though a phrase from a teasing mother, Greg nevertheless has always felt like he belonged outdoors. His father had a tremendous love of the outdoors and nature. He owned many bird books and enjoyed watching and identifying birds. Greg often received a new bird book for Christmas from him. They continue to be among his most revered treasures today.

Greg’s parents were both very artistic and creative. His father was a high school wood shop teacher but had very creative “non-typical” projects for his students. One thing he made was “totems.” They were poles that told a story. Different parts of the story were carved into the totem. Greg still has one of his Dad’s totems. His Father also took a pair of wooden skis and painted scenery on them. The family took a trip to Jackson, Wyoming when Greg was about ten. They spent some time looking through galleries and shops. Greg saw a bird carving and asked his Dad; “Do you think people do this for a living?” He answered; “They must.” Greg’s mind turned rapidly with the possibility of making a career out of bird carving.

After graduating from high school, Greg worked in a cabinet shop with his father. When he had spare time from making cabinets and furniture, he began carving decoys. His first decoy was carved using only a duck stamp as reference. It was not a bird he was very proud of. Because of this early experience and the embarrassment he felt showing it to others, he is now a strong voice for the importance of proper reference and knowing your subject thoroughly. Total confidence in your reference means knowing the bird from all angles by acquiring measurements, study skins, studying live birds in person, and researching photographs of the subject. It is also important to have an understanding of the environment, habits, and characteristics of the bird. “You have to pay the price” he would say.

As a beginning carver, Greg thought his first few decoys were great, but now he considers them “awful.” His first piece that he considers “good” was a Canada goose decoy. He textured only portions of the bird. It was carved out of sugar pine, and he let the strong grain show through by painting it very lightly. The finish appeared more stain-like than painted and was sold in a local auction for $1,500.00 Greg’s next decoy was a decorative hen shoveler decoy. A “decorative” carving is one that is highly detailed. Every feather is apparent, textured, and the bird is intricately painted with the goal of total realism. At the time, he had attended several local art festivals and had heard about a local carving club. He attended one of their meetings and enjoyed being with other local wood carvers. The next time the club met, Lance Turner, a world champion bird carver, was scheduled to instruct them as a guest. Greg brought his hen shoveler hoping for a critique from the expert. As Mr. Turner spoke, he referred to Greg’s decoy several times. He said, “Whoever carved this bird, I would like to meet them after the meeting.” He complimented Greg’s work, and invited him to come to his studio. Lance offered many helpful pointers and gave constructive criticism. He mentioned several prestigious carving shows as avenues available for Greg to gain recognition and show his work to others. The spoonbill hen was entered in a show in Sacramento. When Greg entered the carving, he was informed that he needed to enter it in the “novice” class because it was his first show. The moment he walked into his hotel room, the phone rang. Art Bond, an owner of a gallery in San Francisco, was on the other end. He introduced himself and asked Greg, “Do you have an agent?” Greg said “No, this is my first show” “First show?!” he replied in surprise, “We’ve got to get that piece moved out of novice and into open class.” A win in open class would increase the value of the carving. It was obvious that Mr. Bond saw the value of this beginning artist. The rules would not allow Greg to move to open class (despite other novice carvers wishing for the move as well) so Greg won “best of show” in the novice class.

His next carving competition show was in San Diego. At this show he entered his first raptor; a peregrine falcon with its captured prey, an avocet. This time he entered open class and placed in the top three. At the Ward World Competition in Ocean City, Maryland, the most prestigious bird carving competition in the world, he entered and received an honorable mention. The next year he came back to the World Competition with a peregrine falcon carving standing on a rock. It placed in the top three in its class. The following year he returned with another peregrine falcon with a slightly spread tail, and took best of show in open class. Through all of this time, Art was assisting Greg financially while he got his career up and running. Greg lived in the cabinet shop, ate tuna fish sandwiches, and lived for carving birds!

Greg continued to attend and win various awards in competitions across the country. He has five best of show ribbons from the Ward World Competition. In 1992, he won the most prestigious award given to any wildfowl decorative carver; The Ward World Class “Best of the World”with a preening female kestrel on a cactus. In 2000 he captured the Ward World Class “Best of the World” in interpretive carving as well. “Interpretive” carvings are allowed to be free of texture and paint as the artist wishes to convey his interpretation of wildlife. To date, he is the only carver to have attained world champion status in both categories, a solid reflection on his innate ability and flexibility in many types of sculpture.

Though Greg took a few art classes in high school, he is largely self taught. There are many other artists that have influenced Greg’s artistic passion. Among those are Clark Bronson, who is well known for his painting as well as bronze wildlife sculpture. John James Audubon is a very early American painter that portrayed birds anatomically correct, yet very artistically. Richard Smith paints large abstract canvases in strong colors and has often turned these into three dimensional sculptural works. Gary Ernest Smith is well known for his visionary and playful paintings. Greg has visited Gary Ernest Smith several times at his studio and is impressed with his methods. He has a playfulness in his drawing and loves to experiment with his work. Lately, he has seen Paul Pletka as a great source of inspiration and boldness.

In sculpture, Greg has been inspired by George Carlson’s work, as well as Rodin, and Michelangelo. Like most highly successful artists, Greg continues to search for inspiration from others as well as within himself. Experimentation, growth, and experience moves him forward. Most successful artists continue to evolve over time, growing and experimenting, so it is with Greg Woodard. The evolution of an artist continues.