Greg Smith
Greg Smith, an accomplished artisan and educator, has called Northern California home for the majority of the past three decades. With an impressive 20-year tenure as a teacher at the renowned Krenov School, Greg has become a respected figure in the woodworking community. His expertise and passion for the craft have been showcased through numerous exhibitions across the country, with a notable recurring presence at the esteemed Pritam & Eames Gallery in East Hampton, NY from 1992 to 2012.
Greg’s artistic journey is a testament to the power of education, experience, and unwavering dedication to his craft. His work exemplifies a profound understanding of the interplay between fine wood, skillful technique, and the creation of exquisite pieces. As he continues to contribute to the world of woodworking, Greg's impact on the community is felt through his artistry, mentorship, and unwavering passion for the beauty and craftsmanship of the trade.
Background
Greg was born in North Carolina at Camp Lejeune, but spent many formative years in San Jose, CA. As a young man, he embarked on his woodworking journey in 1985 while living and working on a guest ranch in Montana, where he discovered his talent for craftsmanship. Upon returning home with newfound purpose, he pursued woodworking at a vocational school and secured a job at a cabinet shop, refining his skills through hard work and a stroke of luck.
Two transformative years at the Krenov School deepened Greg's appreciation for quality wood and hand tools. He fondly recalls celebrating his first end-of-year show, with a number of tasty beverages, and reflecting on his piece against the gallery wall, he had two distinct thoughts: 1- ‘I can’t believe my work is in an art gallery.’ 2- ‘I wanna keep doing this.’ Greg then solidified his practice by attending an artist residency in Tennessee.
For the past 20 years, Greg has been teaching at the Krenov School, sharing his expertise and passion with aspiring woodworkers. Alongside his teaching role, he runs his own custom cabinetry and furniture shop, where he continues to create unique pieces that showcase his craftsmanship and artistic vision. Greg's work has garnered recognition and praise, leading to exhibitions across the country and establishing him as a respected figure in the woodworking community. He remains dedicated to pushing the boundaries of his craft and inspiring others to explore the beauty and possibilities of woodworking.
“I prefer to think of what we do as artist-made. I think the difference might be that the successful completion of an artist-made object relies on the inherent or learned hand, eye, and knowledge of the person making it.”
Why do you make? I can’t imagine not making tangible things. It’s what I do for a living, and to feed my soul.
Tell us about your space. I currently inhabit a shop space in Fort Bragg which is set up primarily for larger custom projects such as entry doors, tables and cabinetry. I also maintain a smaller, more comfortable shop at my home, dedicated to fine speculative work.
What does handmade mean to you? I think handmade has become a throwaway term used to evoke the idea of craftsmanship from a bygone era: that may or may not have existed. Very few things are truly handmade—though many things are definitely not. I prefer to think of what we do as artist-made. I think the difference might be that the successful completion of an artist-made object relies on the inherent or learned hand, eye and knowledge of the person making it. There needs to be some risk involved. This does not exclude machines from the process.
Do you have a favorite wood? Kwila—it smells so good. It looks a bit like mahogany but is stronger. It often has these small black and green spots that appear on the surface a few days after being exposed to light. It’s the wood I used in my first successful project at school and first gallery sale. The sight and smell of it can bring me right back to May 1992.
Who is your biggest influence? Of course, James Krenov was a huge influence. Also Edward Barnsley: the English gentleman woodworker and his loyal crew of craftsmen making things of incredible quality, because that’s the way it should be done. And Wharton Esherick: the oddball craftsman in Pennsylvania who essentially started the studio furniture genre. Last but not least, the amazingly talented, and completely anonymous, craftsmen who produced wooden things during the Ming Dynasty era in China. The elegance they were able to achieve, without electricity or many of the conveniences we take for granted, is inspirational. I can only hope that something I’ve made is as coveted and studied four hundred years from now.
Anything wrong with the industry at the moment? The erosion of quality workmanship. And more specifically the misrepresentation, intentional or not, to customers and students of this eroded quality as being the highest quality there is. I suppose part of the reason for this comes down to people trying to make the most money from the least effort and expense. I try whenever possible to work to a higher standard than the typical, and attempt to educate people about the difference.
Tell us about your family. My immediate family is my wife, and both parents—now living in Fort Bragg. But I would be lost without the larger family radiating out from the wood school. I also have chickens. They make great use of the wood shavings I bring home! Beyond that they do not care about woodworking.
