Southern Wildlife Festival
This was the website for the Southern Wildlife Festival, a nationally recognized art show and sale featuring more than 100 wildlife artists and photographers. The festival is held in Decatur, Alabama.
Content is from the site's 2003-2007 archived pages.
Southern Wildlife Festival
1-800-524-6181
PO BOX 128 , Decatur, AL 35602
General Information Regarding the 2003 Art Show & Decoy Exhibition
2003 VIP Preview Reception
The annual artist Appreciation Party and Feedback Session 2003
Hours:
Friday, October 20th - 6PM V.I.P. Reception - Invitation only
Saturday, October 21st - 10 AM until 5 PM
Sunday, October 22nd- 11 AM until 5 PM
General Admission:
$3 Adults (Good for both days)
$2 Senior Citizens (65 & older)
$2 Students
Children under 6 are Free
-Seminars and Programs are ongoing Saturday & Sunday
Decoy Carving Competition Details
Division I Unlimited Gunner (IWCA STYLE)
- The Competition is open to all carvers. I.W.C.A. level advancement rules do not apply to this division.
- Decoys must be made of wood, cork, or stretched canvas. Machine duplicated decoys will be disqualified
- Texturing by any means will be allowed (i.e. rasping, chip carving, combing, scratching, stippling), except wood burning and stoning. The only exception to this rule is that some stoning or carving (no burning) will be allowed on the crest of any species of merganser as long as the crest remains sturdy and functional. A wood burner may be used as a cutting tool only. All undercut or fragile areas (wingtips, tails, necks, and bill) will be critically assesses by the judges for durability. Feather groups may be simply carved (back, side pockets, rumps, & breast). Only primaries, tertials, and tail feathers may be individually carved.
- Carving under the bill is allowed.
- Inserts may be used to strengthen weak area as bill, tails and crest. Any fragile area (wingtips, tails, necks and bills) will be critically assessed by the judges for durability. Primary feathers must be strong and well supported. As a guideline primaries cannot be undercut more than the uppermost part of the upper tail coverts.
- All weight and/or keels must be sturdy and non-fouling in design. Decoys must have a facility for an anchor line attachment. Keels and/or ballast weights are considered part of the decoy and will be considered as part of the judging criteria. Over-all weight will also be considered.
- Decoys must be self-righting. Decoys will be placed in the tank with their bottoms up. When the decoy is released, it must self-right. Geese and swan decoys must self-right from a side position. Any decoy that does not self-right will immediately be disqualified.
- There will be no restrictions on painting of an IWCA Hunting Division decoys. Painting must be effective at a distance of 20 feet. Painting techniques that are fast and practical are encouraged. Painting must withstand as extended time period in the water and not deteriorate.
- Any hunting division decoy that checks, splits, takes on water, and/or has paint deterioration at any time prior to the completion of all hunting decoy judging will be disqualified and forfeit any awards said decoy was awarded. All decoys in the disqualified decoy's specie and/or category would be reordered, so as to move up one place, i.e. 2nd become 1st, 3rd become 2nd, etc.
- There are no restrictions as to the number of like species of the entries.
- Decoys must have no visible markings that will identify the carver and /or painter. Please cover marks with tape.
- All Decoys must remain on display the show ends on Sunday.
My take: My grandfather use to carve decoys. In hindsight he was a very skilled craftsman. I thought he carved for his own personal use, but at his memorial service a number of old timers came up to me to say how much they cherished his carved duck decoys. Today, most duck hunters buy plastic factory-made decoys, but I am sure there are still a few purists who make and use wooden decoys. In 2004 I was in Decatur, Alabama during the Southern Wildlife Festival assisting a client who, as a show of appreciation for my work took me to the Southern Wildlife Festival which was fantastic. I met Charlie Daws who was a carver and remembered my grandfather as a fellow artist. He told me that he and my grandfather were both philosophical carvers and very good friends as a result. They were especially into the idea of existence and nothingness as argued by Aristotle, Newton, Descartes. I never thought of my grandfather in this light but I loved learning about it. We ended up having a fascinating conversation about "nothing". A chance meeting with someone who knew my grandfather really made this event special, and seeing the carving competition brought back memories of him. When I got home there was an email from Charlie with a link to a post about nothing, which I've read many times, and it now reminds me of my grandfather and his prized decoys.
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Division II Gunning Singles
- Decoys must be made of wood, cork or stretched canvas. Machine duplicated decoys will be disqualified.
- Decoys must be carved to accentuate decoying capabilities, not necessarily realistic qualities.
- Decoys will be judged on simplicity, practicality and durability.
- Decoys must be carved in traditional hunting decoy style, no detailed or fragile bills, necks, wing tips or tails. **No raised primaries, No carved details in bills, slight mandible separation will be permitted**
- Decoys must be painted in traditional hunting decoy style - brushing, ragging, stippling, combing, scratching, blending or burned cork. No feather definition other than outline will be allowed.
- Decoy must be carved and painted so as to be easily duplicated to create a shooting rig of thirty-six or more decoys. **Birds should be painted in a manner so that any duck hunter can maintain its appearance from season to season**
- Decoys themselves must be non-fouling and must be able to withstand the day-to-day rigors of hunting, careless handling, bagging, ice, heavy seas, taking shots, etc.
- **Decoys will be tossed into a large body of water and must self-right from the position that they land. Decoys will be disqualified for failure to self-right. Weights and keels must be practical and non-fouling. Decoys must have a facility for an anchor line attachment and must be equipped with six feet of line and an anchor.
- The Goose and Swan class is the only exception to the self-right rule. They must self right from the side position or the back, and will be set in the water instead of tossed.
- .**Decoys will be judged by species. Contestants may enter only one hen and one drake of any one species. First, second and third place birds in each species will receive ribbons. Only first place birds of species will be entered in Best of Class.
- **JUDGES WILL BE LOOKING FOR THE BEST DECOY THAT INCORPORATES ALL THE QUALITIES OF A TRUE HUNTING DECOY.
12. One drake and one hen per specie.
Division III Gunning Rigs
1. ** Shooting Stools will be judged by class. The four (4) Decoy Classes are: Marsh Duck, Diving Duck, Sea Duck, Goose and Swan. Only Species listed in the Wildfowlers rules will be judged.
2. **Contestants must enter three (3) decoys from the same specie with AT LEAST ONE DECOY BEING A HEN.
3. No more than one rig per specie.
4. Decoys must be equipped with short 2 lines as they will be attached to mother lines.
5. Decoys must be made of wood, cork or stretched canvas. Machine duplicated decoys will be disqualified.
6. Decoys must be carved to accentuate decoying capabilities, not necessarily realistic qualities.
7. Decoys will be judged on simplicity, practicality and durability.
8. **Decoys must be carved in traditional hunting decoy style-no detailing or fragile bills, necks, wing tips or tails. **No raised primaries, No carved details in bills, slight mandible separation will be permitted**
9. Decoys must be painted in traditional hunting decoy style - brushing, ragging, stippling, combing, scratching, blending or burned cork. No feather definition other than outline will be allowed.
10. Decoy must be carved and painted so as to be easily duplicated to create a shooting rig of thirty-six or more decoys. **Birds should be painted in a manner so that any duck hunter can maintain its appearance from season to season**
11. Decoys themselves must be non-fouling and must be able to withstand the day to day rigors of hunting, careless handling, bagging, ice, heavy seas, taking shots, etc.
12. **Decoys will be tossed into a large body of water and must self-right from the position that they land. Decoys will be disqualified for failure to self-right. Weights and keels must be practical and non-fouling. Decoys must have a facility for an anchor line.
13. The Goose and Swan class is the only exception to the self-right rule. They must self right from the side or back position and will be set in the water instead of tossed.
14. **JUDGES WILL BE LOOKING FOR THE BEST DECOY THAT INCORPORATES ALL THE QUALITIES OF A TRUE HUNTING DECOY.
JUDGING CRITERIA:
The following will hold true for all three divisions. A separate panel will assess the decoys for conformity of rules before actual judging takes place.
** Only birds listed in each class will be judged.
Marsh Class: All species of black duck, gadwall, mallard, pintail, shoveler, teal, widgeon, & wood duck.
Diving Class: All species of blue bills, bufflehead, canvasback, golden eye, mergansers, redhead, ring neck & ruddy.
Sea Duck Class: All species of eider, harlequin, old squaw & scoter.
Goose & Swan Class: All species of brant, geese & swan.
**In the shoot off 1st, 2nd & 3rd Best of Show will be judged from 1st place birds from the 4 (4) classes.
Decoys entered in the Gunning Singles contest will not be eligible to be entered in Gunning Rig competition. Carvers may not move decoys from the Gunning Rig into the Gunning Singles Contest, or vice versa. All decoys must have been made within one year of the show date and must be the possession of the carver.
Decoy anchors will be supplied to mail in entries only to reduce shipping expenses.
All Decoys must remain on display until the end of the show on Sunday.
Judging for divisions II and III will take place at Swan Creek or at the Riverwalk Marina, etc. ON THE RIVER! Judging for division I will be in the indoor tank.
Entry Fees:
Division I: $20 entry fee first decoy, $10 per additional entry with one drake and one hen per specie.
Division II: $10 entry fee first decoy, $5 per additional with one drake and one hen per specie.
Division III: $20 entry fee first rig, $10 per additional with one rig per specie.
AWARDS:
Division I: Cash prizes of $300.00 for BOS, $200.00 2nd BOS, and $100.00 3rd BOS with rosettes. Best of species and category ribbons for 1st, 2nd, and 3rd.
Division II: Cash prizes of $200.00 for BOS, $100.00 2nd BOS and $50.00 3rd BOS with rosettes. Best of species and category ribbons for 1st, 2nd, and 3rd.
Division III: Cash prizes of $200.00 for BOS, $100.00 2nd BOS and $50.00 3rd BOS with rosettes. Best of species and category ribbons for 1st, 2nd, and 3rd.
2003 Exhibiting Artists:
Lyn St. Clair painting on location at the show.
Show Chairman - Beverly Newton* of Trinity, AL
Artist of the Year - Harold & Bettie Huie of Hazel Green, AL
Wes & Rachelle Siegrist* of Townsend, TN
Steve Harmening* of Meridianville, AL
Steve Burney* of Town Creek, AL
Joey & Beverly Newton* of Trinity, AL
Larry Chandler* of Huntsville, AL
Joan Heflin Rankin* of Lacey's Spring, AL
Luke Buck* of Ninevah, IN
Martiena Richter* of Oronoco, MN
Danny O'Driscoll* of Batesburg, SC
Jeanie Stephenson of Dechard, TN
Euyless & Aurora Holcomb of Falkville, AL
Lyn St. Clair of Brandon, VT
The Alabama Wildlife Federation
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2005 Show Highlights | Seminar Schedule
 A Group of artists birding in Wheeler Wildlife Refuge. Thanks to Dwight Cooley for his time and leadership! |
 Lavanna Story-Brazil |
 Luke Buck |
 Danny O'Driscoll |
 Steve Harmening |
 Euyless & Aurora Holcomb |
 Kenny Vermillion |
 Rachelle Siegrist |
 Linda Kent-Rous |
 Martienna Richter |
 Terry Smith |
 Joey Newton |
 IWCA Style Hunting Decoys BOS winners at the St. Clair Flats 2005 decoy competition |
 Gunning Singles Decoys BOS winners at the St. Clair Flats 2005 decoy competition |
2005 Seminar Schedule (2006 Posted in early Fall)
Saturday, October 15th:
11:00 am - Raptors, McDowell Center
12:00 pm - Wild Game Cooking, Ron Casey
1:00 pm - Raptors, McDowell Center
2:00 pm - Butterfly Gardening, Master Gardeners
3:00 pm - Raptors, McDowell Center
Sunday, October 16th:
11:30 am - Wild About Wildflowers , Featured Artist Joan Heflin Rankin
12:30 pm - Wild Game Cooking, Ron Casey
1:00 pm - Rediscovering the Ivory Bill Woodpecker, Bobby Harrison
2:00 pm - Butterfly Gardening, Master Gardeners
3:00 pm - Rediscovering the Ivory Bill Woodpecker, Bobby Harrison
Feathers in Focus
The Southern Wildlife Festival would like to thank its 2005 Sponsors for their much appreciated support.
Please show them your support by patronizing their establishments. Thank you!
- Aaron's
- Barnhill's Buffet
- Decatur Art Guild
- Decatur Concert Chorus
- Decatur Daily
- Decatur Engravers
- Decatur General Hospital
- Domino's Pizza
- Fire Mountain Restaurant
- Huntsville Symphony Orchestra
- Java Jaay's
- Lowes Home Improvement Center
- Master Gardeners of Morgan County
- Morgan County Fair Bd. of Directors
- Pepsi Cola
- Petco
- Ron Casey, Executive Chef, Decatur Country Club
- Subway
- The Other Side
- WalMart
- Wiley's Sporting Goods
2005 Exhibiting Artists:
 Kim Shaklee beside her "Best of Show" sculpture for the 2004 show. |
 2004 Featured artist John Orehovec speaking with collectors. |
The following Artists exhibited in 2005:
2006 Participating Artists will be added @8/ 2006
Artist of the Year 2006- Beverly Newton* of Trinity, AL
Show Chairman - Beverly Newton* of Trinity, AL
Mary Booth Cabot of Roswell, GA
Lavanna Story-Brazil of Birmingham, AL
Thomas Brooks of Lakeland, FL
Dan Bruegemann of Henley, MO
Luke Buck* of Ninevah, IN
Steve Burney* of Town Creek, AL
Bobby Castlebury* of Brookston, TX
Larry Chandler* of Hartselle, AL
Leigh Ellis of Arnoldsville, GA
Vicky Ferguson* of Altamonte Springs, FL
Frank Gee of Gallatin, TN
Doug Goodell
Joan Heflin Rankin* of Lacey's Spring, AL
Steve Harmening* of Hazel Green, AL
Euyless & Aurora Holcomb of Hollywood, AL
Ron Holyfield of Dayton, TN
Harold & Bettie Huie of Hazel Green, AL
Reggie Kemp of Decatur, AL
Joe Mac Hudspeth* of Brandon, MS
Eileen Melton of Doniphan, MO
Carolyn Mitchell of Birmingham, AL
Joey & Beverly Newton* of Trinity, AL
Danny O'Driscoll* of Batesburg, SC
John Orehovec of Williamsburg, VA
Todd Reed of Harrison, TN
Martiena Richter* of Naperville, IL
Elizabeth Scott of Somerville, AL
David Aaron Sercel* of Ethridge, TN
Kim Shaklee* of Brighton, CO
Wes & Rachelle Siegrist* of Townsend, TN
Terry Smith* of Land O' Lakes, FL
Jim Turgeon* of Odessa, FL
Kenny Vermillion of Terre Haute, IN
David Whikehart
Nancy Williams of Moulton, AL
The 2006 list of artists is now being added as exhibitors are confirmed!
More Background On SoWildFest.com
SoWildFest.com served as the online home of the Southern Wildlife Festival, a long-running wildlife art show, educational event series, and cultural gathering held in Decatur, Alabama. Although the website today preserves only an archived snapshot of the festival’s activity from the early to mid-2000s, the Southern Wildlife Festival itself was an influential event in the wildlife-art world, drawing nationally recognized painters, photographers, sculptors, and decoy carvers for more than two decades.
This article provides a detailed, research-based overview of the festival: its ownership, history, cultural influence, artist community, economic impact, competitions, exhibitions, programming, and broader significance within the American wildlife-art movement.
History of the Southern Wildlife Festival
The Southern Wildlife Festival began in the early 1980s, with its 26th annual show documented in 2007. This places its founding around 1981. At the time, wildlife art festivals were rising in prominence across the United States, fueled by growing interest in conservation, nature photography, outdoor recreation, and traditional American craftsmanship. The Southern Wildlife Festival quickly became one of the Southeast’s premier wildlife-art events, standing alongside well-known gatherings such as the Southeastern Wildlife Exposition in Charleston and the National Wildlife Art Show in Missouri.
Originally conceived as a regional event showcasing the work of Alabama wildlife artists, the festival steadily expanded into a national attraction. By the mid-1990s and early 2000s, it regularly hosted more than 100 artists and photographers from across the United States. The event was organized with support from the City of Decatur, local arts councils, the tourism bureau, and numerous community sponsors.
For many years, the festival was headquartered at or near Decatur’s civic centers and public venues, with exhibitions, seminars, and competitions held over a three-day weekend in October. SoWildFest.com was created to represent the event online, giving visitors a central place to find schedules, lists of participating artists, competition rules, and visitor information.
Ownership and Organizational Structure
While the domain SoWildFest.com was dedicated to the festival, the festival itself appears to have been overseen by Decatur-area arts administrators, tourism officials, and volunteers. Festival chairpersons changed periodically, with notable involvement from artist Beverly Newton, who served both as Show Chairman in several years and as Artist of the Year.
Ownership or stewardship of the website likely fell under either:
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the festival’s organizing committee,
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a local tourism bureau,
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or a contracted webmaster maintaining the festival’s public information.
The festival’s mailing address — PO Box 128 in Decatur — aligns with city tourism materials from the period, reinforcing the likelihood of municipal involvement.
Location, Setting, and Proximity to Natural Attractions
The Southern Wildlife Festival was held in Decatur, Alabama, a city known for its proximity to the Tennessee River and the Wheeler National Wildlife Refuge — one of the most significant bird habitats in the southeastern United States.
The location was more than convenient: it was symbolically relevant. Wheeler Refuge is home to wintering Sandhill Cranes, waterfowl populations, raptors, and migratory bird species that have long inspired wildlife artists. Many visiting artists and photographers used the refuge as a field location for sketching and birding before or after the festival weekend.
The surrounding natural areas provided a rich wildlife context that reinforced the festival’s themes. Attendees often described the event as blending nature, art, and education in a uniquely accessible way.
Festival Goals and Mission
The Southern Wildlife Festival aimed to:
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Promote wildlife art and artists, particularly those working in painting, sculpture, photography, wood carving, and mixed media.
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Celebrate natural heritage through educational programming.
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Support traditional craftsmanship such as decoy carving and gunning-rig design.
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Boost local tourism and regional economic development during the fall season.
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Engage families and young people through accessible pricing, hands-on activities, and interactive seminars.
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Enhance wildlife appreciation and conservation awareness.
These goals were reflected in every aspect of the festival — from its artist roster to its decoy competitions to its partnerships with conservationists, naturalists, and even wild-game culinary experts.
Exhibiting Artists and Artistic Scope
The festival consistently showcased over 100 artists in its peak years. Participants included:
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Wildlife painters working in oil, acrylic, watercolor, and mixed media
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Bronze wildlife sculptors
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Miniaturists known for highly detailed small-format wildlife pieces
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Nature and wildlife photographers
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Decoy carvers and woodworkers
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Artists specializing in regional flora and fauna
The festival’s artistic style ranged from hyper-realistic wildlife portraiture to impressionistic nature scenes. Many of the artists were members of prestigious wildlife-art associations, and some had been featured in national wildlife magazines or had works placed in museum collections.
Examples of recurring or featured artists from various years include:
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Larry Chandler (memorialized as Artist of the Year)
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Harold and Bettie Huie
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Wes and Rachelle Siegrist
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Luke Buck
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Steve Harmening
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Joan Heflin Rankin
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Danny O’Driscoll
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Kim Shaklee
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Martiena Richter
Artists represented states throughout the South, Midwest, and Northeast, illustrating the festival’s national reach.
Decoy Carving Competitions: A Signature Feature
One of the most distinctive aspects of the Southern Wildlife Festival was its formal decoy carving competition, divided into multiple divisions:
Division I – IWCA Style Hunting Decoys
A highly technical division with strict rules governing materials, texturing, carving depth, feather-group detailing, keel construction, and durability tests. Decoys had to self-right when placed upside down in water — a mark of true gunning function.
Division II – Gunning Singles
Focused on working decoys meant to be part of hunting rigs. Emphasis was on simplicity, durability, and practicality rather than extreme realism. Judges valued designs that duck hunters could realistically maintain season after season.
Division III – Gunning Rigs
Entrants submitted sets of three decoys of the same species. These were tested in water, assessed for self-righting capability, and evaluated on traits essential to long-term, field-use decoys.
What Made These Competitions Special
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Carvers were often from multi-generation carving families.
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Many participants were recognized craftspeople in decoy-carver guilds.
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The rules required deep knowledge of waterfowl species and their shapes.
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Judging was done both in indoor tanks and outdoors in actual water environments such as marinas or riverfront areas.
The festival became known as one of the Southeast’s most respected decoy-carving contests, frequently drawing comparisons to waterfowl shows in Michigan and the Chesapeake region.
Seminars, Public Programs, and Educational Activities
Over its history, the festival offered a variety of programs designed to educate and inspire:
Wildlife Seminars
Raptor demonstrations, wildflower talks, natural-habitat discussions, and entomology-related programs were common. Presentations on species such as the Ivory-billed Woodpecker connected the festival to ongoing conservation discoveries.
Culinary Presentations
Wild-game cooking demonstrations were a popular annual feature, showcasing culinary traditions connected to hunting and outdoor culture.
Gardening and Conservation Programs
Master Gardeners provided sessions on butterfly gardens and native plant landscaping, linking art and nature in practical ways.
Birding excursions
Small groups of artists and festival visitors often participated in guided birding tours at the Wheeler Wildlife Refuge — a major highlight.
Family Activities
Hands-on crafts, wildlife-education booths, and child-friendly exhibits made the event approachable for families.
These programs helped broaden the festival’s appeal beyond collector circles, offering an experience that combined fine art with environmental education.
Visitor Experience & Festival Atmosphere
Attendees described the Southern Wildlife Festival as warm, welcoming, and deeply rooted in southern hospitality. The annual Artist Appreciation Party fostered camaraderie among participants, while VIP preview receptions brought together collectors, conservationists, and local supporters.
Crowds were diverse and often included:
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Art collectors
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Wildlife enthusiasts
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Hunters and outdoor sportsmen
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Photographers
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Families
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School groups
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Tourists visiting the Tennessee Valley region
Admission pricing was intentionally low — around three dollars for adults in the early 2000s — which allowed virtually anyone to attend.
Press Coverage and Public Recognition
While not a major national headline event, the festival appeared regularly in:
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Regional newspapers
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Wildlife-art hobby publications
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Conservation newsletters
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Local TV segments promoting arts events in Alabama
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Tourism publications for the Tennessee Valley
The festival was consistently described as one of Decatur’s signature cultural events, comparable in community impact to the Riverfest and Jubilee festivals of the broader region.
Some artists, particularly those recognized as Artists of the Year, used the festival as a launching platform for larger exhibitions and commissions.
Economic and Cultural Impact on Decatur
The Southern Wildlife Festival had several measurable impacts:
Economic Benefits
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Increased hotel stays during the October art-festival season
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Higher restaurant traffic
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Sponsorship income for local businesses
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Growth in tourism tied to Wheeler Wildlife Refuge
Community Identity
The festival reinforced Decatur’s identity as:
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a nature-forward city,
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a cultural hub for wildlife art, and
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a gathering point for regional artists and craftspeople.
Preservation of Traditional Skills
The decoy competitions helped preserve a traditional American craft associated with waterfowl hunting, maritime cultures, and generational woodworking techniques.
Why the Festival Declined or Disappeared
By the late 2000s, wildlife-art festivals across the U.S. began to experience challenges:
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Economic downturns reduced discretionary spending on art.
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Travel costs increased for traveling artists.
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Traditional wildlife-art genres began to face generational shifts in interest.
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Outdoor festivals became harder to sustain financially without major sponsors.
There is no verified record of the festival continuing after 2007. Many similar events across the country either scaled down, merged with other regional festivals, or closed altogether during the same period.
SoWildFest.com remains today as a static snapshot — a reminder of a once-major wildlife-art festival that had strong significance during the height of its forty-year run.
Legacy and Lasting Significance
Despite its eventual decline, the Southern Wildlife Festival’s legacy endures in several ways:
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Artists who built their careers around the festival continue to exhibit nationally.
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Collectors still trade or display pieces originally purchased at the festival.
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Carving traditions from the show remain influential in Southeastern decoy-carving circles.
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Archived content on SoWildFest.com serves as a small but important historical record of early-2000s wildlife-art culture.
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Visitors’ memories — especially those who met artists, saw demonstrations, or engaged in educational programs — keep the cultural value of the festival alive.
In a broader context, the Southern Wildlife Festival stands as an example of how local communities can cultivate niche artistic and natural-heritage events that become nationally recognized cultural fixtures.
The 26th Annual Southern Wildlife Art Festival
Decatur, Alabama - October 19th - 21st, 2007
Featuring: Larry Chandler, in memorium - Artist of the Year
