Welcome
My name is John Paul Goodyear and I am a former self-taught woodturner and sculptural artist from Newfoundland, Canada. I performed professionally from 2008-2012 at which time I created one-of-a-kind wood art pieces using a variety of practices including woodturning, piercing and carving with both hand and rotary tools.
Emotions of Imagination
An Intimate Encounter (2011)
Niche Awards Finalist 2012
An Intimate Encounter (2011).
Niche Awards Finalist 2012
Beneath The Allure (2011)
Niche Awards Winner 2012 | American Arts Awards 2011
Redwood Open Form (2008)
Vacancy of the Unknown (2010)
A Secret Existence (2008)
Artist Curriculum Vitae
Past Group Exhibitions
2015 – Stellar, Craft Council Gallery, St. John’s, Newfoundland.
2013 – “25 for 25”, The Rooms, St. John’s, Newfoundland.
2012 – An International Invitational Exhibition of Turned or Sculpted Wood. Southern Highland Craft Guild, Folk Art Center, Asheville, North Carolina.
2011 – 20/20 – Annual Members Exhibit, Craft Council Gallery, St. John’s, Newfoundland.
2011 – “Emerging Patterns: an international invitational exhibition of woodturning”. The North Carolina Arboretum, Asheville, North Carolina.
2011 – “Wood”, Devon House, St. John’s, Newfoundland.
2011 – “Crafting Paradox”, The Rooms, St. John’s, Newfoundland.
2011 – “New Perspectives in Wood”, del Mano Gallery, Los Angeles, California.
2010 – “Juried Annual Exhibit”, Craft Council Gallery, St. John’s, Newfoundland.
2010 – “Be Our Guest”, AAW Gallery of Wood Art, St. Paul, Minnesota.
2010 – “The Teapot”, AAW Gallery of Wood Art, St. Paul, Minnesota / AAW Symposium, Hartford, Connecticut.
2010 – “Never Think Small – Redux”, Climate/Gallery, Long Island City, New York.
2010 – “Be Our Guest: A Progressive Invitational”, Ohio Craft Museum, Columbus, Ohio.
2010 – “Made for Each Other”, Annex Gallery, Devon House Craft Center, St. John’s, Newfoundland.
2009 – “The Spindle” an AAW Invitational, Albuquerque, New Mexico.
2009 – “Turning to the future” Grovewood Gallery, Ashville, North Carolina.
2009 – “Comfort and Joy”, Craft Council Gallery, St. John’s, Newfoundland,
2009 – “Ontario Craft ’09”, OCC Gallery, Toronto, Ontario,
2009 – “Made of Wood Show”, Dufferin County Museum and Archives, Rosemont, Ontario.
2009 – “Juried Annual Exhibit”, Craft Council Gallery, St. John’s, Newfoundland.
2008 – “Comfort and Joy”, Craft Council Gallery, St. John’s, Newfoundland.
Collections
– Government of Newfoundland Labrador
– Collection of Gloria and Sonny Kamm Teapot Foundation
– Private Collections in the United States and Canada
Awarded Commissions
NLAC (Newfoundland and Labrador Arts Council)
Awards
2013 – Niche Awards Finalist – in the category of Wood: Painted/Colored.
2012 – Niche Awards – in the category of Wood: Turned.
2012 – Niche Awards – in the category of Wood: Painted/Colored.
2012 – Niche Awards Finalist – in the category of Wood: Painted/Colored.
2011 – Niche Awards – in the category of Wood: Turned/Carved.
2011 – Niche Awards – in the category of Home Furnishings: Teapots
2011 – Niche Awards – in the category of Wood: Painted/Colored
2011 – American Art Awards, Second place in the category Sculptural Non-representational
2011 – American Art Awards, Third place in the category Sculptural Non-representational
2011 – American Art Awards, Forth place in the category Sculptural Non-representational
2011 – Award for Excellence in Craft – Jurors’ Choice Award, presented by the Craft Council of Newfoundland and Labrador.
2010 – American Art Awards, First place in the category Sculptural Non-Representational
2010 – American Art Awards, Third place in the category Sculptural Non-Representational
2009 – Niche Awards Finalist – in the category of Wood: Turned
Broadcast Media
2011 – Interview with Angela Antle, Weekend Arts Magazine, St. John’s, NL
2009 – Interview with Angela Antle, Weekend Arts Magazine, St. John’s, NL
2009 – Interview with Erin Sulley, Living Newfoundland and Labrador, St. John’s, NL
In The Studio
Materials Used
Starting in 2008, my primary focus was on the sculptural design elements along with showcasing the natural beauty of the wood. Typically, darker hardwoods where used such as Walnut, Cherry and Mahogany along with the limited use of other hardwood species such as Osage Orange and Hickory.
Considerations for selecting a wood species where mainly determined by the look or feel that I was trying to achieve in each sculptural form. Some forms required a wood species that displayed a rich and elegant feel while other pieces required more of an organic or rustic appearance. Other workable elements such as the texturability of a wood species were considered especially when sandblasting was favored to achieve a desired look.
To truly capture the natural beauty of the wood, I finished each piece using a clear finish only, primarily a tung oil-based varnish or Danish oil. The level of sheen was usually satin but may have been buffed to achieve a flat or high polished look depending on the esthetics required to capture either an elegant, mysterious or a natural organic appearance.
Towards the end of 2009, I started to incorporate the use of color to create a secondary element of realism instead of natural wood look.
I choose to use Acrylics by Golden Artist Colors because of its extreme quality, versatility, and color range. Golden is committed to producing materials that encourage exploration of form and concept, while assuring archival integrity.
Additionally, Golden colors retain excellent flexibility when dry, greatly diminishing the likelihood of the cracking that occurs in other natural and synthetic polymer systems. Golden colors are produced with a high pigment load of lightfast pigments resulting in highly intense, permanent acrylic colors.
Has my work evolved into the use of color I mainly used Maple and Black Cherry as the main hardwood species of choice. These two species have excellent sculptural characteristics such as ease of use and its smooth and uniform texture. This eliminates the possibility of any natural characteristics of the wood from distracting the intended textured and painted surface.
As a sculptural support for painting, these two species are also very dimensionally stable, meaning that it has very little movement with regards to expansion and contraction with changes in temperature and humidity. This is key for the longevity of the artwork.