From furniture to freeform design: Nucharin Wangphongsawasd

What did your past work as an industrial designer and researcher entail?
I mainly use design thinking and problem-solving skills in everything I do in my daily life, and the same applies to woodworking and art-making. For example, if I only have 4–5 hours to work in the studio, I ask myself: what can I accomplish in this period? I will use the design process to help me plan out my day to make it as efficient as possible.

What’s the designer maker scene in Thailand like? How does it relate to traditional crafts still practised?
It is growing bit by bit every year. Our scene is fairly new and not big compared to Western countries, but I think we have pretty good diversity regarding the variety of work. Many makers who studied abroad have brought back unique skills and knowledge they had learned and implemented into their work. There is also a group of designer makers interested in preserving traditional craft by still using traditional techniques in creating contemporary work, as well as designer makers who work directly to help develop product lines with traditional craftspeople. This is from my own observations, I can’t speak for everyone.

Illusions of Time, created from beech, walnut, cherry with kerf and steam bending techniques. Entered in Maker of the Year awards 2023, these forms were the result of an interest in harmonic motion.

How did you get into woodworking?
It was not expected. My primary goal for pursuing higher education was in furniture design, not woodworking. I applied to four schools for my graduate study. The Woodworking and Furniture Design program at Rochester Institute of Technology in Rochester, New York, was the only one that accepted me. I wanted to study in Europe, not the US, and I almost turned down this opportunity, but thankfully, my parents highly supported me in giving it a chance and seeing what it could bring. So, I decided to try it, and I found something I genuinely loved for the first time in my life. It gave me a great sense of purpose in life. 

Kerf bent form by Nucharin Wangphongsawasd

How did the idea or opportunity to study in America come about?
The idea of pursuing higher education has been in the back of my mind since I was in undergraduate school. The curriculum of my industrial design school is mainly driven by a problem-solving base and human-centred design that they teach in the USA. At that time, I was still interested in pursuing a master’s degree in either Industrial Design or Furniture Design, and the USA seemed like a perfect choice since I was already familiar with their core design principles. 

How did the interest in kerf bending arise?
In 2016, I received this incredible opportunity to be a resident fellow at Wingate ITE Artist in Residency with the Museum of Art in Wood in Philadelphia, USA. I just came out from my second solo show at Serindia Gallery in Bangkok, where my entire body of work was made using bent lamination and freeform bending techniques. When I arrived at the residency, I asked myself: “Is there there another wood bending technique I want to practice – a technique I have never done before?” I remember seeing my mentor give a kerf-bending demo on a tablesaw back in graduate school. I had never tried doing kerf-bending before, so I told myself to do an exploration series on this technique and see where it would take me.

Installation of Farewell, New Makers exhibition, shown at ATTA Gallery, Bangkok

What were the main things you learnt while studying and living in the US?
In US culture, they valued assertiveness and competitiveness, which I found very challenging for myself since I did not grow up in this type of culture. However, I took the experience as a good opportunity to be outside my comfort zone and learn to navigate the world through the practice of woodworking.

I’ve learned to be more humble, open-minded, self-driven, and self-disciplined. One of the most charming things about US culture that I admire is that you get to meet people from different backgrounds, beliefs, upbringings and walks of life who share a similar goal. Despite all the different people willing to join forces to make things happen, that’s the value I still embody and practise to this day. 

What’s your practice as a wood artist like now at home in Thailand?
I’m doing a bit of everything, from personal work to showing with a gallery, to taking a commission project from a client, and teaching or facilitating a workshop whenever possible. I’m trying to open myself up to opportunities as much as I can. It doesn’t always need to be only woodworking, as long as it involves making or art-making and I’m capable of delivering the task. I will push myself to give it a try. 

Classroom scene while teaching at ISB middle and high school, Thailand

What does teaching others mean to you? Are you planning to do more teaching?
Yes, I’m planning to do more teaching. At the moment, I’m interested in working with younger students, especially those in high school and middle school.

I’m thinking of teaching as a skill and knowledge sharing process. As an instructor, you are giving your students a unique opportunity to try something new, and that opportunity could lead them to many paths in life. I consider woodworking and art-making to be life skills. Once you can create, build, make and fix things, your perception of yourself and your life will be different. Knowing you can create something with your hands will not only help you gain confidence but also help keep you grounded, which will eventually help improve other aspects of your daily life.

What’s your professional vision for the future?
I will keep doing what I do. I will keep showing up and putting in work. And whatever opportunity comes, I will learn to ride the wave of life. 

Learn more about Nucharin Wangphongsawasd @nucharin_w at www.nucharinw.com

See Nucharin’s Maker of the Year presented by Carbatec entry for 2024, Lux Obscura

Enter Maker of the Year, presented by Carbatec

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