The sparkling detail of the goldsmith.

A man who dresses the glory with precious metals, Argentinean Juan Carlos Pallarois.
The goldsmith work is an art which gives forms, into dreamy shapes, to materials of great value all
through the history of men. Gold and silver, are mixed and transformed in pieces that will carry the mark
and geniality of an artist forever. And the solemnity of that oy increases, when the goldsmith is the
creator of presidential !atons, the immortali"ation of #va $uarte creating the %&ask of #vita' (that one
that his father once started with silver in )*+) and which he ended last ,+ of &ay-, or even the chalice
of the Pope .enedict /01. #ach work makes stronger the moments of glory which integrate the live
history of our 2ation. 3ince the )4
th
Century in 3pain, the Pallarols family has !een dedicated to the
goldsmith work. Juan Carlos was !orn in .anfield in the year )*5,, and he has !uilt his actual place in
an incompara!le location. The historical old .uenos Aires town, a place of protection due to the anti6uity
of the constructions, with infinite aromas from the past that still persist. And it is very important to
maintain them for future generations. 3omething like this happens in 3an Telmo, the place where it is
located the &useum7 8orkplace of the most representative genius in silver works of the 9io de la Plata.
:ur goldsmith master, Juan Carlos Pallarols is calm, owns a soft warm, voice; with vi!rations that show
the passion for his work. <e gets closer for a chat with the same naturalness than the one he has in the
moments of engraving; the same one that he has, using the tools of his o! which has transformed in life
instruments. <e is the sixth generation of goldsmiths, a continuity marked in wonderful creations for
posterity.
How old were you when your relationship with this job started?
3ince 1 was very little. 1 did not raise in this house; 1 lived in =omas de >amora, where my father had a
workshop. .ut the situation was the same? the workplace and a few meters from there it was the house.
8hen you are a kid, you hear noises and laughters, sense sparkles, smoke and fire@ inexora!ly we
wanted to go to the workshop. The people there gave you a hammer, a special place so that you didnAt
get close to the fire or touch the acids, and once you were there, you started playing.
What are the things you hoard up of those moments?
The feeling 1 had when 1 was little and used to play in the workshop? 1 remem!er the hand of my
grandfather touching my head and 1 have the feeling that 1 am still playing and that the pri"e is the real
finished o!. 1 keep the playful relation !ut oined with responsi!ility, 1 am very aware of that. 1 relate the
work activity with the fun part of it. 1 !elieve it is what we all should !e a!le to do? to make the o!
something nice. 1 suppose that many of the things 1 enoy are !ecause of !eing !orn %a little !it
optimistic' !ecause 1 am a worker with strength and 1 see most of the times %the half full part of the
glass'.
How did you feel when you were in San Marcos Square with the ope! in Spain with "ing #uan
$arlos % of &orbon or with rince William and rincess Ma'ima (orreguieta from )ederland!
designing for them the sil*er tray that was used for carrying their wedding rings?
1 felt the huge satisfaction of knowing that 1 was in those places, not !ecause %1 got the !ig one' !ut
simply !ecause 1Am a hardworking person who loves what he does. The thing that somehow the work
and the dedication are awarded, 1 live it as a tri!ute for my mother, my father, my grandparents that are
the ones who educated me. That makes me think that the world in not working that !adB 1Am incredi!ly
happy doing what 1 doB.
+o you consider yourself a pri*ilege person?
This is not a privilege. This is something that everyone could do. That is why it is so important to look
after your vocation. To discover it, is like falling in love. Cou heard yourself saying? 1All live with this
woman. 3o you start !eing creative and everything looks nice. 1n the same way this is fantastic, the
contrary also happens, to have a o! that you donAt like is like a punishment.
What was happening through your mind when your profession was not *ery steady?
1 was very poor, 1 had to work since 1 was very young. 8hen 1 say 1 was poor 1 mean that 1 had to do
what 1 could to maintain myself. .ut 1 never felt poor. 1 wasnAt. 1 had ideals, dreams, and always had this
feeling of gratitude !ecause my relatives told me that. To !e grateful with life, with people, with friends.
There is people who has everything and live complaining all the time. 1 think that one important thing is to
have a good education, to discover your vocation, to accept what you have, what you carry genetically
and to learn to !e grateful for that.
To !e tolerant, a person with willingness, to know how to share the ideas even if they are not your own
ones. To develop your proect with all the passion and with the same commitment, to help on otherAs
proects. 3ometime happiness looks for you. 3ome others you have to find it. .ut you must never let your
strength to fall.
+o you consider yourself as a romantic person?
8e were educated with an education in the style of the )*
th
Century and the !eginnings of the ,D
th

Century. 8ith a very important artistic character; all the time there was interesting su!ects when we sat
at the dinner ta!le, we had communication.
When you tell stories about your life! the relation and con*ersations with your parents! your
grandparent,s soft hands carrying you as a child to the world of adults! there is too much lo*e
and happiness in all of that.
1 had no dou!t. 1 felt happy !ecause 1 was seeing that 1 had a future. Goldsmith, silversmith, those were
my things? 1 knew that.
#uan $arlos takes! from one of the cases of his desk! the personal diary of his grandfather! which
treasured and reads-
His grandfather says.
%Today, more than ever, the humanity is !orn tired. At the same time, my grandchildren will !e a!le to
learn from their grandparents that, without sadness, they could raise their kids and educate them
showing hard work and sacrifices'. A !etter world existed, and it was valua!le to !e encouragedB 1 didnAt
even have something to eat, !ut 1 had $artagnan, 1 had stories@ 1 had a world. 1 used to feel that if 1 was
valiant and studied 1 could reach everywhere 1 wanted, !ecause in my childhood 1 had dreams. &y
grandparents used to say? %humor would make your life nice, !ut !eing free would make it sacred'.
Those are some of the fundamental things that once helped me.
What do you percei*e special in your e*eryday job?
1 always took challenges, each day is different. 1 make a feather, 1 see how the material !ehaves
according to the different treatments, 1 search other temperatures and 1 always discover that metal is
everyday no!lest and responses !etter. 1Ave never lost the capacity of surprise in my work.
We talked about what you recei*ed from the older ones in your family. The path of the way you
walked along together and what you learned through it! %t came to you as a legacy that is your
patrimony. %f we had conscience of our inheritance! thatcould make oursel*es stronger making
ours other,s e'periences.
1f all of us, somehow, helped to maintain the cultural patrimony, we could have a safe future. To keep the
patrimony is like working the land and sowing? in future times you will have a harvest.
/ou are still making a path. How do you li*e it?
There is a sentence of &other Teresa from Calcuta that 1 use very much in this days %8hat 1 do is ust a
drop in the sea. .ut the sea will !e a drop7less without mine'. 8e can !ring that to the country. The
country without the drop of each one of us is less country@ 3o it worths to tryB.
$estacados?
My grandparents used to say. 0humor would make your life nice! but been free would make it
sacred1.
% felt happy because % was seeing that % had a future. 2oldsmith! sil*ersmith those were my
things. % knew that.

Sometime happiness looks for you. Some others you ha*e to find it. &ut you must ne*er let your
strength to fall.