Jungo Suzuki is a Japanese woodworking artist creating beautifully crafted objects from his workshop in Nagano, a place known for its natural beauty. Earlier this year, we visited his studio and caught a glimpse of how he patiently works with wood, shaping it into utensils that feel both delicate and full of presence.

His work is more than just functional. Through quiet repetition and thoughtful refinement, he explores the subtle forms of spoons, forks, knives and other wooden objects, always pursuing the balance between beauty, form and function.

We are truly excited to introduce his work to the United States and we hope you enjoy this carefully curated collection.

Could you briefly introduce yourself?

I was born in 1987 in Saitama Prefecture. After leaving Honda in 2015, I studied the fundamentals of woodworking at Agematsu Technical School in Nagano. I became independent in 2019 and have been creating wooden furniture and everyday wooden tools since then.

What inspired you to pursue the path of a woodworking artist?

I started woodworking because I wondered if I could contribute to forest conservation by working with wood, a material so familiar to all of us. While working as a craftsman at a manufacturing company, I realized I did not want to simply keep producing items within the fixed framework of mass production. I wanted to explore form more freely, and that desire led me to aim for independence as a woodworking artist.

How did the style of your work develop over time?

I draw inspiration from European antique furniture and architecture. Rather than simply replicating these forms, I aim to refine them each time I create something new. For me, there is no single “correct” shape, nor do I ever feel completely satisfied with what I make. That is why I constantly experiment and reflect, comparing my work to my own sense of values, striving every day to create something I truly believe is good.

Why did you decide to establish your workshop in Nagano?

After graduating from the school, I worked under a craftsman at a workshop in Nagano. When the craftsman retired due to age and the workshop was set to close, I decided to take over the space and continue working there. That is how I became independent and established my own practice in Nagano.

Many of your works feature delicate, detailed carvings within very small forms. Could you tell us a little about your creative process?

I start by shaping the handle of each utensil. For this process, I use a lathe to rotate the wood at high speed and carve it freehand with blades. I do not use fixed templates for the shape of the handles; instead, I let the form take shape intuitively as I work. With experience and repetition, the shapes have gradually become more consistent.

After finishing the handle, I roughly carve the spoon or fork head using machines. Once the rough shape is complete, I use traditional Japanese hand tools such as small knives and handplanes to carefully carve out the finer details, giving each piece its precise, finished form.

Which part or moment of the making process do you enjoy the most?

I especially enjoy the process of carving the wood by hand with traditional tools. No two pieces of wood are ever the same, and even when I carve them in the same way, the result is never exactly identical. I find it fascinating to engage in this quiet dialogue with the wood as I work.

Hand-carving is also about finding the ideal form hidden within each block of wood. Once you shave off too much, there is no going back, so I always focus on creating the best possible shape with the fewest and most precise cuts.

What do you find special about using wooden objects in daily life?

Wood is lightweight and has low thermal conductivity, which gives it a gentle, pleasant feel when used. I think one of the charms of my work is the contrast it creates. At first glance, people may not even realize the object is made of wood, but once they hold it, they immediately feel the natural warmth and softness of the material. I believe that unexpected contrast is part of its appeal.

Your work really brings out the natural beauty of each type of wood. What do you look for when selecting wood?

I try to use wood from nearby mountains whenever possible. Among those, I choose wood that is strong and flexible enough to withstand everyday use as tools or utensils. Personally, I really like maple. I love its fine yet bold grain, which gives the finished pieces both strength and character.

We’ve heard you spend long hours in your studio each day. What motivates you to keep creating, and how do you like to unwind or recharge outside of work?

I think the biggest driving force is that I’m never completely satisfied with what I make. There’s always a sense of frustration that I couldn’t reach my ideal this time, along with the hope that maybe I’ll get closer with the next piece. That feeling keeps me going.

As for relaxation, I spend time with my child. No matter how busy I get, I always make time in the evenings to be with them. That time away from work helps me reset, and it’s probably what allows me to keep up the long hours in the studio.