Nomaki Etsu on Geometry, Furniture, and the Presence of Form

Nomaki Etsu is a furniture designer whose work explores the relationship between geometry, material, and spatial presence. Working across design, craft, and art contexts, his practice investigates how objects influence the way people perceive and inhabit space.

Etsu holds a Master of Fine Arts in 3D Design from Cranbrook Academy of Art and a Bachelor of Fine Arts in Product Design from Parsons School of Design. His work has been presented through exhibitions and design platforms including ICFF Launch Pad and the Manifest Gallery, and has received recognition such as the NY Product Design Award and the Maxwell/Hanrahan Materials Award. In this interview with the Goddessarts Magazine, he discusses his approach to furniture, geometry, and material.

1. Please tell us something about your background and your art journey so far.

I am Nomaki, a furniture designer whose work explores the relationship between form, space, and human experience through objects. My practice combines industrial design methods with craft-based processes, using furniture as a medium to investigate how material, proportion, and spatial presence shape the way people perceive and inhabit their environments.

Having lived in Japan and China before pursuing my education in the United States, my perspective has been shaped by multiple cultural contexts and design traditions. These experiences have influenced how I approach design, particularly in the way I think about form, balance, and the relationship between objects and space.

In my work, I approach design not only as a functional discipline but also as a spatial and conceptual inquiry. Rather than treating objects solely as solutions to practical needs, I am interested in how form, geometry, and materiality influence perception, behavior, and atmosphere. Through this approach, I aim to create furniture that carries clarity, balance, and a quiet sense of presence.

2. Describe what a normal day looks like as an artist.

My day usually moves between thinking and making. I tend to focus on the most demanding tasks in the morning, such as theoretical writing, drawing, or planning new work. These early hours are often when I can concentrate most deeply on ideas and structure.

In the afternoon, I shift toward more creative or material-focused work, such as developing forms, refining designs, or working with models and materials. Because my practice moves between conceptual thinking and fabrication, a typical day often involves moving back and forth between planning, designing, and making.

3. Can you tell us more about the theme in your art and your inspiration?

Much of my work begins with an interest in geometry and how simple forms can shape the way we experience space. I am drawn to clear relationships between line, surface, and volume, and I often use furniture as a way to explore these relationships in a physical and everyday context. Furniture interests me because it exists at an intimate scale with the human body while also influencing the spatial atmosphere of a room.

My inspiration comes from both design and architecture, where proportion and structure play an essential role. I am interested in how subtle changes in scale, curvature, or proportion can transform the character of an object and the atmosphere around it. At the same time, material and craft are important parts of the process. Working with wood, metal, and other materials allows the geometry of the design to become tangible and expressive.

Through this approach, I aim to create furniture that is visually calm but carefully considered, where form, proportion, and material come together to produce a balanced and thoughtful presence in space.

4. How does your art life impact other parts of your life?

My practice has made me much more attentive to the visual and spatial qualities of everyday life. I often notice small details that might otherwise go unnoticed, such as the way light moves across a surface, the proportions of objects within a room, or the patterns that appear in natural materials.

These observations are closely connected to my work. They influence how I think about form, atmosphere, and presence, and they often become starting points for new ideas.

5. Could you share any difficulties and hardships you had to face in life and how or if you managed/overcame them?

Creating meaningful work can be challenging because it often requires patience, conviction, and a willingness to continue even when a piece is not immediately understood. In my experience, work that is quieter or more restrained can sometimes be judged too quickly.

However, I see this as part of the nature of both art and design. Not every work reveals itself at first glance, and I have learned to remain committed to the direction of the work rather than be overly influenced by immediate reactions. Over time, this has helped me develop a clearer voice and a stronger sense of purpose in my practice.

6. Tell us about your best experience in the art world so far.

One of the most rewarding aspects of my practice is the constant process of learning. Each project introduces new ideas, skills, and ways of thinking, and I value the ability to translate these discoveries into physical objects that exist in the world.

Presenting work and sharing it with others is also an important part of that experience. It allows the work to enter a broader conversation and creates opportunities to meet people who share similar interests in design, art, and making. Seeing an idea develop from an initial concept into a tangible object that engages with others is always deeply fulfilling.

7. Share your worst experience in the art world.

One difficult aspect of the field is that work is sometimes judged very quickly, often before the ideas, craft, or intention behind it are fully understood. This can be discouraging, especially for work that relies on subtlety or careful observation.

Over time, I have come to see this as part of the process. It has taught me to focus less on immediate reactions and more on continuing to develop the work with clarity and commitment.

8. What practical advice can you give to fellow artists?

I believe it is important to continue thinking and making at the same time. Ideas often become clearer through the process of creating, and growth usually comes from consistent practice rather than waiting for perfect inspiration.

Patience, curiosity, and attention to detail are all essential. The process of making is where many of the most meaningful discoveries happen.

9. Is the artist life lonely? Please share your thoughts and experiences.

For me, creating art requires focus and time, which can sometimes feel solitary. However, I do not see this solitude as something negative. Instead, it is an important part of the process, allowing space for concentration, reflection, and the gradual development of ideas.

The time spent working through challenges and refining a piece ultimately brings a strong sense of satisfaction when the work begins to take shape.

10. What are you working on at the moment and are there any upcoming events you would like to talk about?

I am currently developing a series of stack-laminated wood furniture pieces. The project consists of two closely related parts: the furniture itself and the theoretical framework that supports it.

Through this work, I am exploring how geometry, material, and construction can come together in a practice that connects design, craft, and art. It marks an important new direction in my work, both conceptually and materially, as I experiment with new methods of making and new ways of thinking about form.

Website: https://etsunomaki.com/

Instagram: https://www.instagram.com/etsunomaki/