Notes by Kaye Dowling, QVMAG Launceston

Greenwood knew from his initial exploration of leather that traditional techniques could be taken in new directions other than the purely functional focus of bags, saddles, belts and footwear. This started his continuing experimentation to find the strengths and limitations of leather as a sculptural medium

Leather is one of the most unexplored mediums in the arts. Many properties of this natural medium continued to appeal to him. The malleability and versatility of leather suited his direct way of working, giving him immediate control over his processes. It is portable, sensual, requires little specialized equipment or tools and waste is minimal, as off-cuts can be recycled.

Adapting Traditional Techniques: In general, most of the leather he used is vegetable tanned cowhide. Spirit and water-based dyes were applied with a sable brush to retain and enhance the nature of each hide. Some works also incorporate exotic leathers such as emu, ostrich, merino sheep and buffalo. These leathers, with their individual patterns, colours and textures, extended his palette of possibilities. Two construction techniques laminating and wet forming formed the basis of all Greenwood's sculptural work.

Laminating: A template is made of the desired shape and transferred to many layers of heavy cowhide. These are cut and bonded together using contact adhesive to form a shaped block, then carved into the final shape using a Stanley knife. These laminations often appear to show characteristics similar to growth-rings on wood. Metal or wire reinforcement is sometimes used between layers in areas where extra strength is required.

Wet-forming: This particular type of shaping is achieved by a hammering technique
over a round, smooth form while the leather is wet. Greenwood
used a smooth river stone. The leather then retains its given
shape when dry.

Finishing: Final decorative textures and details were created in a wide variety of ways from traditional leather and wood workers tools through to acrylic leather paints and ink pens. The individual elements of each sculpture were assembled using only adhesive, never stitching. Greenwood's maker's mark, GG, with the year, was applied. The sculptures were finished using a variety of burnishing and polishing techniques.