The exhibition Skin: Garry Greenwood is an ode to the legacy of an incredible Tasmanian leather sculptor. What Greenwood did - sculping leather to create musical instruments, theatrical costumes, free-standing works and wall hangings - was unique.

IN OTHER NEWS:

QVMAG assistant curator Ashley Bird said the exhibition had been about two-and-a-half years in the making. For the curator, one of the proudest moments of his career was digging deep into Greenwood's work and seeing it live on.

"The life of the artist in the studio - that's the reason why I decided that we were going to start the exhibition with this idea of him in the studio," he said.

"When you research a show like this, the artist gets under your skin, and I kind of lament the fact that I didn't get a chance to meet him."

Bird said the artist was prolific and an amazing maker. He pushed the boundaries with what leather could do. His pieces have the looks and qualities of wood, fabric and human skin, but are all leather.

"I don't know what percentage this is of his complete practice, but it would have to be small," Bird said.

"We have an ongoing archive of Garry's practice - photographs, music, images, lots of stuff.

"But it doesn't include everything."

Many of Greenwood's pieces were designed to be brought to life and used, with one musical instrument even played recently as a part of Mona Foma. The instruments are maintained in such a way to preserve them for use.

"The thing that is most important about this collection for QVMAG, both from a theatrical perspective and from a musical perspective, is the fact that these objects were made with use in mind," Bird said.

The leather wielder was also a talented draftsman and many of his drawings are also included in the exhibit. Quite a few of the drawings have a Disney-esque vibe, with instruments looking like they are coming to life. Others outline the beauty of the human body, which he used for inspiration also.

Skin will be on display at QVMAG until May 22, 2022.

Greenwood's work featured heavily in Tasdance's production Skin Deep in 1999. On February 21 this year, a round table discussion was held with the original cast members of the performance. Within the group was former artistic director and performer Annie Greig, choreographer Fiona Reilly, and costume designer Odette Arrieta-Shadbolt.

"Garry was an integral part of the creative process for making Skin Deep," Bird said.

"I can understand 20 years ago, all of them together having such a fun time creating ephemeral theatre, dance, artistry, sculpture, and sonography all together in one hit and that's powerful stuff.

"A real lightning in the bottle moment in theatre for Launceston."

Two of the full costumes and one head piece from the production are a part of the Skin exhibition. Arrieta-Shadbolt said while she focused on the fabrics for the costumes, Greenwood did all of the leather work which was the main focus.

"As Garry described it, where the leather ended the fabric began," she said.

The costume designer said working with Greenwood was one of the moments when she started to grow herself as an artist, observing the way he was driven, direct, and single-minded in his creative process.

"I suppose working with someone of that calibre, you don't realise it when you're going through it but it was a real privilege to be asked to be a part of it and asked to be fabric to the leather," she said.

Arrieta-Shadbolt said the exhibit was lovely, but almost seemed one dimensional after seeing Greenwood's work come alive in the production.

"I suppose because we saw it in motion, in movement, under lights, in situ, it seems so static."

However, no one knew the ins and outs of the movements like Reilly did as the choreographer. She worked closely with Greenwood at the start, taking inspiration from his sculptures and which pieces of work he wanted in the production. He had a clear idea of what he wanted at the end especially.

"He was great, he was really good to work with," she said.

Greig agreed and as both director and performer, she had a complex role and much to do with Greenwood.

"Garry insisted on me being part of it and wouldn't take no for an answer," she said.

Greenwood had a very clear vision of what he wanted the production to look like, especially when it came to what he wanted to achieve with his work in the show.

"He had created certain characters and certain pieces which you can see as part of the exhibition that he was very clear that they were characters within what he wanted," she said.

"He worked closely with Fiona, as the choreographer, between them they created the storyline.

"In the first part she had more freedom to create. Within the second half, Garry was much more the dominant player, and Fiona worked to his brief more."

Greig said Greenwood's legacy touched many different areas as his work was so diverse.

"It's musical instruments that play, it's non-wearable footwear that is quirky and fun, it's head pieces that you can play. He was so fanciful."

However, with the group back together again for the round table talk there was a noticeable absence as Greenwood died in 2005.

"It was wonderful to have the key players, and of course the absence of Garry is really profound, and it kind of makes you realise such a loss, he was such an incredible talent," Greig said.