Jarrad Belton: "Do what you love!"

Jarrad Belton is a UK maker who transitioned from carpenter to fine woodworker and now teaches at Farnham School of Furniture Making in Surrey where he is apprenticed to Aidan McEvoy. he actively researches issues of sustainability relating timber and materials usage. He is heavily inspired by natural forms and has a leaning towards creative storytelling with his series of fantasy figures. Jarrad's Maker of the Year entry 2025 may be seen here.

We asked Jarrad to fill us in on some of the background to his work:

Jarrad Belton with his Mycena table, ‘inspired by the intricate form of mushrooms and mycelium networks within forest ecosystems’. 

Q: Were you always a woodworker? What got you started on the path?
Woodworking is pretty much all I've ever known in terms of work. Straight out of school I went to study carpentry at college and then worked with a carpenter for a number of years. Throughout this period I was constantly being told to speed up. I would spend too much time cutting joints too precisely for the speed of work that was required in carpentry. Work that would ultimately never get seen.

I'd always been making small pieces of furniture after work or at weekends with old tools that were never truly sharp, but I didn't know that at the time. I was loving every moment of it and I hadn’t really considered it as a career for a long time, it just seemed like the natural progression of the path I was on.

After saving up enough money working as a carpenter I went back to college to retrain in furniture making. I was told to slow down and aim for precision. This is how I knew I had found my craft. Since then I have been a furniture maker. I feel very lucky to have found this passion so early in life and I am grateful I have been able to pursue it in such a dedicated way.

Jarrad Belton, Homage to Nature (2nd Ballad), ‘emulating a leaf of Juglans regia (English walnut)’.

Q: Leaf and Mycena (mushroom) inspired tables…it's easy to see nature inspires you. How do you approach designing a piece?
Very good question. I often find myself completely captivated by nature. In most cases the natural world itself is what inspires the design of a piece. I spend a lot of time outside, usually under a canopy of trees. When an idea comes to me, I will sketch it with pencil and paper. I personally do not use computers to design my furniture. Instead I draw. Once this drawing has developed into something more technical, I will then make a maquette (a scaled down model of the piece). This will allow me to physically see the piece come to life, it also gives me a practice run of making it. Some furniture makers may consider this approach antiquated but this is how I was trained and it works best for me.

Conference table for English Woodlands Timber, based on the company logo

Q: ...and making? Are you methodical, clean and tidy? What's your process?
I think this question would entirely depend on who you ask. I now work at the Farnham School of Furniture Making and my colleagues would tell you I am a very organised and tidy individual but my own personal workshop is usually just organised chaos mid project. But I would generally say I always prefer a tidy workshop. Mess tends to stress me out and I also think you're probably less efficient as a maker trying to work through clutter.

Ballad of Ki No Senshi: ‘Trained in the way of the samurai, achieving the highest honours as a master swordsman. Ki left that life to fight for something different.’

Q: What are the animated fun figures on your Insta feed all about?
So the El Pesado Gang are a posse of sculpted/carved gunslingers that I created as an outlet for my wild imagination. When I was much younger I would spend a lot of time drawing characters and writing stories. As we grow older we have this creativity and imagination somewhat dampened by the education system and progression of careers. For me, this form of woodworking is quite selfishly just a way to exercise this imagination. I thoroughly enjoy creating these characters based on the drawings and ideas I have come up with. Writing their individual stories is incredibly entertaining for me. One day I’d love to have an animated movie about them. If there is anyone reading this that could make this happen or knows someone that could, please reach out.

Ballad of Var Bahn: ‘A legendary gunslinger in his own right, he became part of the posse in hopes of fighting an opponent that could outgun him, this has yet to be seen.’

Q: Who are your woodworking heroes/gods/gurus?
John Makepeace is definitely my top answer for this question. I am incredibly inspired by his work and legacy. I feel very grateful to have personally chatted to him about some of his designs and making processes.

There are many craftspeople that I am inspired by, the list too long to mention here. My social media following may be an indication of the type of makers that enthuse me.

Q: Your most often-made mistake?
I think my most often made mistake would be pricing my work. I am quite terrible at it. I find it the most challenging part of being a furniture maker, it's something that is rarely taught in any training but actually the most important lesson if you are to make a living from it.

I find myself in quite an ironic situation in that I am unable to afford any of my own work but at the same time the cost of making a piece reflects the years I have trained and developed my ability into what it is today. It’s a tangley web we weave but the real wealth for me, comes in what I do for a living.

Q: Your biggest woodworking disaster!!?
The biggest disaster was actually the underside of the leaf table (Homage to Nature 2nd Ballad). I invested in what I thought was a really good brand of metal particle spray paint. It was advertised as a polished brass finish. However to my frustration the spray did not produce any kind of finish that would remotely resemble polished brass. Instead it was a horrible murky green more similar to oxidized brass. It was just not acceptable for a fine piece of furniture.

After reaching out to the company and exchanging photos of the finish I was told simply there was nothing wrong, it was just what this type of finish looked like. I had to sand back the entire underside of the piece and then find another brand that produced the desired effect. It was disappointing for me as I had put a lot of time and money into the piece. I did eventually get the finish I had hoped for but I think in the future I'll explore gilding to get a better result.

Philip Walker, cake stand for the Queen’s 70th Jubilee – Jarrad assisted with the making.

Q: Your biggest woodworking achievement?
I was very fortunate to help a local sculpture artist, Philip Walker, make a cake stand for the Queen’s 70th Jubilee. Although this wasn't directly my commission I was incredibly grateful to be part of such a special project. The stand was huge and emulated a tree trunk. I can’t remember the exact count of sections but it was compromised of many smaller pieces, laminated together to form a large blocky cone. This was then meticulously carved back to create the shape of an intricate tree trunk. The cakes where then placed on top of this, in tiers, with beautiful floral and nature inspired decorations. I'm quite jealous I wasn’t able to try the cake.

Chess set in locally sourced English walnut and sycamore with storage. ‘Taking inspiration from ancient temple architecture the entire box emulates a sacred space, a place for deep contemplation when these small warriors are amidst an intense battle.’

Q: The thing I would most like to change about my own woodworking is…
That's a difficult question. I am constantly trying to make my work more sustainable as I am incredibly passionate about the environment. Makers will most likely be familiar with FSC (Forestry Stewardship Council) rated timber, but there is some controversy regarding their practices and questions of how truly sustainable some of their woodlands are. Here in the UK, we have a certification for timber called GiB (Grown in Britain). This is the best accreditation for timber available as it guarantees the wood has come from a well managed woodland. It’s a much smaller organization and therefore they have a more intimate relationship with the woodland owners. I use exclusively GiB rated timber in my work but my aim is to do more than just select sustainable timber.

My role at the Farnham School of Furniture Making encompasses more than just the making and teaching. I am currently researching ways in which we can better our overall sustainability. One area I have been looking at specifically is our use of glues.

There are different glues I would like to start using. The use of animal glue can be considered controversial, but I am more interested in plant based glues. The consideration for these types of glue is for their reversible qualities meaning that furniture made now can be taken apart and repaired many many years down the line. Using these types of adhesives also reduces our exposure to the harmful chemicals found in most modern glues.

We also have aims to install a biomass boiler to recycle our wood waste directly into powering heating for the school. We also plan to install water filters to reduce water waste, and use local artisans to craft the hardware and products that accompany furniture making. Over the coming months this plan will be developed further and further.

I think it's a very exciting yet daunting time, this appreciation and understanding mindset towards the environment is particularly crucial for furniture makers and designers. We are at the forefront of using a material that is completely natural, it is fundamental that we use it responsibly. Change is inevitable, progress is optional.

Q: What is your desert island hand tool and machine? And why?
I love this question! I'm imagining a scene from the movie Surf's Up. I would choose my number 6 handplane and my Startrite bandsaw. If I were truly stuck with just these two items I believe you could genuinely make a piece of furniture. A bandsaw is an incredibly useful machine, capable of cutting curves as well as straight lines. So you could rough out timber with ease into manageable component sizes. The number 6 hand plane would then be able to plane down the surface of these components. It would struggle with the concave curves but if you were being really creative you may be able to take the blade out and use that as a rudimentary chisel. A challenge but I’d love to see what it would be like.

Homage to Nature: ‘A homage to the material we work with. Crafted from hundreds of walnut strips and three hand turned, steam bent legs in stained oak.’

Q: What do you love most about woodworking?
I think it would be easier to answer with what I don’t like about woodworking as I mainly love all of it. For me, this craft brings me purpose, identity and fulfillment in this life. I cannot imagine doing anything else.

If we want to get specific, I find the most joy when I have a stack of components that all need some form of joinery cutting. Say for instance, a cabinet's carcase of mitred dovetails or perhaps a set of castle joints. When I’m amongst this is when I am the most happy.

Q: Where to next for Jarrad Belton, worker of wood?
Good question. Wherever the wind takes me. As long as I’m making furniture I am fulfilled. I would like to be working to a higher level. I’m always striving for perfection which is a dangerous path as the mind of a perfectionist is always in pain.

I currently work as an apprentice to a master furniture maker, here in the UK. I like this traditional relationship as I am constantly becoming a better maker and teacher. Learning the ways of the blade, I feel very much like a Jedi Padawan. Whilst making furniture here I also pass on my learnings to students who come to train with us at the school.

Going forward, I am unsure of where I will go or what I will do once I have graduated as a Jedi Knight of furniture making. Perhaps one day when I am much wiser I may too take on a Padawan and continue sharing the knowledge of the craft as my master once shared with me.

Q: My best tip to other makers is…
Comparison is the thief of joy. It’s easy to compare to other makers especially with social media. I think it’s important to remember we all have our own paths, do what you love and stay true to your beliefs.

Also, some advice that has resonated with me throughout my career, especially to anyone new looking to get into furniture making. You should get into this craft for the passion, not for the money. This mindset has been crucial for me, it can be difficult walking the path of a self employed furniture maker but if you can stay passionate about what you’re doing you will be able to make it.

Images supplied by Jarrad Belton @jarradbelton Learn more also here

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.

Enter Maker of the Year, presented by Carbatec

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