Creole silverware, an ancestral trade that remains alive in Entre Ríos

At 20 he decided to specialize and that's why he entered the College of Jewelry, in Buenos Aires.Based today in Green Oro, Kornicki is the propeller and professor of the Luna Tears.Chiseled techniques, alpaca as a more economical alternative, costs of raw material, the themes of the Entre Rican silverware, levels or types of silverware related to the social sector that are represented, some of the issues that the teacher Platero entrusted to one during aJournalistic note made in the world in the world, the workshop that is your home.

Metals on the workshop table, laminators that mold, the heat of the torch, a radius, old furniture, boxes of different sizes, tweezers, hammers, reused corn cans, almanaques, a cut tree trunk that serves as the basis for performingCertain tasks, a square lying to the wall that remembers the 2nd Regional Meeting of Platleros, a dog that is a faithful companion and is installed in the middle of the room;well -displayed, breathing short, all that crowned with the constant strength of small blows, so Martin's workshop is seen.

It is a private, intimate space.Instead can make many pieces but not all are creative, because the most massive and more massive exit, such as bulbs, are part of their production.Now, most of his works have the imprint of his passion and there are many specials, which he treasures with great pride.It is not easy to live from silverware.Many people do not have a high purchasing level to buy pieces

"I dedicate myself to Creole silverware.I do mates, knives and bulbs with old techniques.I was nine when I put myself next to that man in the post, friend of my old and taught me.Then I worked with him for a while, when he began to make buckles and belts I worked for him, from my home.With the money I earned I was equipped and putting together the metal workshop, at 14 I had it ready and sold things to solve my expenses, ”said the interviewee.

Over the years he settled, for love, in Paraná and then moved to Green Oro.While manipulating a torch, he explains that he uses chisel dough: "There are millions of formulas, I use vegetable resin with ferrite and a little fat," Martin said.He also said that different techniques can be used, such as the embossed, superimposed and chiseled to the water.

His first creation was a small cross."I went crazy.With a saw that did not go, with elements that were not correct.Over time I learned, especially at the fairs.It is that the fairs were previously different, it is not like now that artisans are mixed with microenterprises.There were prosecutors, they demanded that the level level increase permanently.They were very rigorous and also, they themselves, if there was something you did not know, they explained it to you.There were even interferias organizations, ”recalled the interviewee.

“I learned to weld with different artisans, none used scientific methods.I took, for example, things with an iron clamp, acid was red and we didn't know the cause.There was no YouTube, so it was unthinkable to consult there.When I went to the Jewelry College I noticed that there was a chemist near and learned that Iron with acid could not be put on because it became red.It had been working on that for 20 years and it was at that time the novelty.Today I use elements that are not toxic, aluminum with citric acid.In my early years, accessing knowledge was very complicated because there were no schools.The exchange was the fair.I was to look and appropriate the trade.I currently have 20 students and I tell you what I know.They learn and we, the teachers, also from them, because the experience is multiplied but the trade is extinguished, ”Kornicki explained.

Loa of moon

In the tranquility of green gold, located a few 10 kilometers from Paraná, the silversm.Martín Kornicki, propeller of the space and professor in charge of disseminating his knowledge about the different techniques, recalled the beginnings and incentive that led him to open the doors of his house to teach what the years as Platero left him.

The workshop begins to work for its initiative.With the passage of time the space began to grow and became all the silversmiths who put him as the name based on an aboriginal legend.The teacher Platero recalled that “this was born as a research work about what silver shop was in Entre Ríos.When I arrived in the province I started working in the riders and I was very interested in Creole silverware, before I did something more urban or more eastern ”.

"I wanted to make silverware.He went to the doma festivals and did not sell anything, because Entre Ríos's style is another and people what I did at that time did not caught his attention, so I tried to do an investigation of the Entrerriana silverware.Together with Graciela de Paoli, a great historian, we started with a course, an exhibition and then we begin to invite the silversmiths from other places in the province.Thus, Luna's tear was born, with a lot of initiatives: we have the courses, we buy cooperatively, we make annual silverware exhibitions and the restoration of pieces to conserve and sign them.In total we are 29 silversmiths the members, from different entrerrianos corners, ”said the teacher.

Entrerrian tastes

One of the fundamental characteristics that could be seen in the entrerrianas pieces is the great balance that exists between the space worked and the smooth space.Among the most frequent themes that can be found in the decoration of the Entrerriana silverware are the flowers, leaves, the dotted, among others.

It is also worth noting that there are two levels or two types of silverware related to the social sector that is represented.On the one hand there is Urquiza silverware with very worked European elements and on the other hand there is common use silverware with worn, rewarded or fixed pieces in any way.I could define as a tillería del gaucho and one of the ranch.

In the words of Master Platero: “Entrerrianos are very deeply attracted to the chisel.For example, a knife cape usually in half, framed, also the framed sheath and especially the images always of the area of the area.There is the silverware that reflects the man of status and also the field pawn.If you go to the Diamond and Folklore Festival, you will see big silver and other silver trails, simpler.The customer buys according to their purchasing capacity, but everyone can look.

In relation to the time that can lead to a person to learn the trade, Martín said that in two years the basic techniques can be known and implemented."Then you never stop learning, the way is infinite," he said.

Culture reflection

There are, of course, a variety of prices and jobs.“Bulbs ranging from 200 pesos, or 1.500 a classic, to a silver mate that is worth 200 Lucas.More than anything you work in Alpaca because the other materials do not have so much commercial exit, even so much someone appears to give you the pleasure.In my case, I live economically of production, not of the unique pieces, ”he explained.

Kornicki also reflected: “When I was a boy the spoon was sold on the one hand and the bulb for another.Today the bulb must have the spoon on the tip, because the rhythm of life makes the person do not have time to look for a separate spoon.It is the reflection of culture, of the rhythm of life, we all adapt ”

Materials are bought in Buenos Aires.The kilo of Caño is worth 5.000 pesos and up to 60 bulbs can be made with that.“Three kilos of pipe and some sheet metal is already expensive.To change the price you have to buy 10 kilos of pipe, that's why the idea is to buy together, to reduce costs.

Inspiration, the trade

Mattered, the teacher Platero explained that the works have a value beyond the material, that transcend people's lives.For some, such as collector buyers, their work has a special, artistic, cultural and emotional value.Selling a piece requires two basic conditions: having money and understanding the task to know what is bought.Subjective conditions and taste for silverware pieces are never lost.

Martin cannot even think of another job.It is not like many others who can say: as a boy I thought about this or that profession or trade, or to talk about something that was pending.

He is an artisan, platero teacher and really would never be anything else.He loves his space and ensures that being a whole Sunday in his workshop does not feel it as a job.

“There are those who watch television to clear, I can be hours and hours doing my jobs and it really is my ground cable, my inspiration.I'm silly, I wouldn't want to be anything else.Depending on the economic situation of the country, sometimes it is easier or more difficult, but although at times it gets uphill it is my vocation, I would do nothing other because every day I get up every day excited to come to my workshop.Not everyone can enjoy work.My old men, for example, did not choose to be artisans, but were unemployed at the time of hyperinflation, they did not like being artisans at the beginning, then over time.I chose it, I had other options, I lost things but I want this, ”said Kornicki.