Burak Gürer: “Give each piece a soul beyond its function”
Woodworking is a language that Burak Gürer ‘speaks’ in common with many others across the globe. He lives and works in Bandirma, Türkiye. Completing his secondary school education at a naval academy led to a naval career that took him over the world. In 2013 he left the navy to rekindle his love of woodworking and establish a quality furniture making business. As an entrant in Maker of the Year, presented by Carbatec, we asked him to tell us a little about his background.
Q: Where did you learn your skills?
I grew up in a village and started by making toys out of wood. I developed most of my skills myself however advanced carpentry techniques were taught to me by Cem, with whom I worked for about four years. Cem passed away about seven years ago. Sometimes I miss him very much.
Later, I needed to get an education abroad in the quality furniture making that I wanted to specialise in. Most of the marquetry and micro marquetry training was learnt there and I graduated from this training with a good degree. I am currently continuing to develop my skills by studying art history at a university in Türkiye.
Cebir – made from pine and padauk. “Mathematics is the language of the universe, and Cebir is my attempt to translate it into wood. The parabolic foot shapes and the geometry on them really challenged me.”
Q: Your main design influences?
I love mathematical and geometric elements. I am very lucky to have a job where I can use these. Another important element that inspires me in my designs is ancient history. I’m a complete archaeology nerd.
Q: Who are your woodworking heroes/gods/gurus?
This is a difficult question. For sculptural furniture I would say Wendell Castle and Judy Kensley McKie, for marquetry I would say Silas Kopf. For classical and encrypted furniture, I would say Sultan II Abdulhamid.
Cebir, another view of the top
Q: What do you mainly make? And who do you make for?
I mainly focus on designing furniture – pieces that aim to become the antiques of the future. Some are custom commissions, while others emerge from my own creative process. I’m quite selective with the projects I accept; if a piece doesn’t align with my design philosophy, I prefer not to take it on. Over time, I’ve built strong, lasting relationships with clients across Europe, the United States, and Türkiye. Working closely with them is not just professionally rewarding – it’s something I truly enjoy.
Q: What’s your main driving force as a maker?
My motivation and driving force is my love for my job and my workshop. If you love it, you can succeed!
Kesir, chestnut: “A statement of balance. The legs placed at 120° create a triadic symmetry, forming an unshakeable stance of equilibrium.”
Q: How do you balance time vs money vs what you love doing?
Love of work = Quality time + money. All in balance :)
Q: Your most often-made mistake?
I think I can be a little hasty towards the end. I’m still educating myself on this.
Q: Your biggest woodworking disaster!!?
About five years ago, I made a coffee tabletop – something I had poured 25 days of work into. After pressing, the veneer at the centre came loose. I could have repaired it, but it just didn’t feel right. It no longer resonated with the care I had put into it. So, in a moment that was both decisive and a little painful, I cut it in half with a bandsaw. It was a disappointing ending to a piece I had invested so much in.
Kesir, detail showing the endgrain “mosaic” of the top
Q: The thing I would most like to change about my own woodworking is…
There’s nothing I want to change about my woodworking – it reflects who I am. But there’s still so much I want to improve, refine, and master. The journey is far from over.
Q: What do you love most about woodworking?
What I love most about woodworking is the opportunity to combine craftsmanship with artistic expression. Especially through marquetry, I can tell stories, explore visual themes, and give each piece a soul beyond its function. It's not just about making a table or a cabinet – it's about creating something that speaks to people on a deeper, more emotional level. For me, woodworking is both a discipline and a language, and marquetry is one of its most poetic forms. It’s a way to connect with people through time and memory. That emotional connection is what truly drives my work.
Q: Favourite processes?
The finishing stage is my favourite part because it’s when everything comes together – after all the hard work, I finally get to see the piece as a complete whole.
Dali Humidor with marquetry portrait and detailing, andSpanish cedar interior.“243 meticulously selected pieces of exotic wood capture the master’s iconic gaze and whimsical eccentricity.”
Q: My best advice to other makers who want to improve their work is…
They should not forget that development never ends. I recommend that they constantly research and constantly struggle to learn new things.
Q: My best advice to other makers who want to sell their work is…
They need to know that what they do is handmade and that there are very few artists left in the world who do handmade work. For this reason, they should adopt a real pricing policy. If what they do is truly a work of art, it will definitely get the value it deserves.
Dali Humidor showing all-wood hinge construction
Q: Where do you see yourself in 5 to 10 years’ time? (What are your goals as a maker?)
I envision myself, five years from now, showcasing my bespoke, high-quality furniture for luxury yachts at the Monaco Yacht Show. I have a deep passion for the luxury yacht furniture style and am already laying the groundwork to bring this vision to life. It’s truly a remarkable dream!
You can see Burak Gürer’s entries for Maker of the Year, presented by Carbatec at these links: Cappadocia and Granicus.
Images: Ali Öztürk
Maker of the Year, presented by Carbatec, is a competition for all makers, amateur, professional and student, and showcases the wonderful things they make from wood. In 2025 we present a series of interviews with some of the makers who have already entered their work.
Maker of the Year, presented by Carbatec is open for entry to makers all over the world. In addition to awards totalling A$19,500 in value, The Jan Pennell Award (A$1,500) will be made to an entry that displays outstanding woodturning. This entry will be selected from the Top 100 shortlisted entries across all Maker of the Year categories including Furniture, Arts & Objects and Student. Local and international makers are eligible to win this award.
In addition, the A$1000 Recycled & Rescued Award will be made to an entry that displays outstanding use of recycled and reused materials. This entry will also be selected from the Top 100 shortlisted entries across all categories. Local and international makers are eligible to win this award.
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