The Gritti Palace, a Luxury Collection Hotel, Venice
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Woodgrain Designs
Remeri and Woodcarvers
The iconic Venetian gondola dates back to 1094 and has been a staple of the day-to-day life of Venice ever since. Crafting oars and ‘fórcole' (rowlocks) for gondolas, Saverio Pastor is one of three remaining Remèri who keep this rich tradition alive in Venice today. Each piece fashioned by Pastor is tailor-made by hand using traditional techniques and tools, with the ‘fórcole' even on display at the Museum of Modern Art, New York.
SAVERIO PASTOR
Master Venetian Rèmeri
Saverio Pastor is one of the only three Venetian ‘remèri', who fashion oars and ‘fórcolas' (rowlocks) for gondolas. He learned his trade under the last of the master craftsmen Giuseppe Carli, the 'rowlock king', and Gino Fossetta, the 'oar wizard'. In his workshop Pastor turns his talent not only to the traditional, but also more experimental projects that are adapted to modern rowing styles.
"I was born in Venice in 1958 and have always lived, worked and studied here. I have always felt at ease here and have chosen a craft which is integral to life and culture in Venice."
SAVERIO PASTOR
A Lasting Legacy
The ability to identify the rowlock inside a block of wood and set it free is just one exciting part of the knowledge and experience I am proud to pass on. I have been able to teach this to my three apprentices (one of whom has been with me for 16 years), colleagues, fellow craftsmen and even a gondolier.
SAVERIO PASTOR
What are your thoughts on the place of the Remèri in Venice?
The Remèri were fundamental to the birth of Venice itself. Without oars and fórcole not even a pole would have been planted, and there would have been no city. It is important to recognise the significant role the remèri have played, as it reflects such an important characteristic of Venice's past, present and future.
SAVERIO PASTOR
What is the proudest moment of your career?
One thing I am particularly proud of is crafting the rig of the Disdotona, the queen of a fleet of typical Venetian boats. I have made oars and fórcole for every Maritime Republic over the years, Amalfi, Pisa, Genoa and Venice to name a few.
BRUNO BARBON
Engraver and Restorer
Inspired by his enthralling craft, Wood Engraver and Restorer Bruno Barbon has dedicated his entire life to preserving the artistic heritage of Venice and its legacy of craftsmanship.
The antithesis of mass production, Barbon's work is made up of attention to detail and personalisation, every carved piece preserves the gestures and knowledge of the master who crafted it, while each antique piece of furniture to be restored is like a new patient who needs specific specialist treatment.
BRUNO BARBON
What is your favorite process in your work?
There is a process that I really like, carving various models of wooden hands. One type in particular I like the most, and the one I do more often, that is the hand of a child with a very gentle movement. People like this a lot and I like it too.
In this job you never stop learning, even now that I am 83 years old I learn things by observing works well done and I always try to do my best.
BRUNO BARBON
A passion for restoration
In Venice there are many ancient unique pieces, so there is a need for people who love their work, who know how to restore both carved objects and antique furniture. It fascinates me to see things in bad condition and then feel the satisfaction of seeing them restored, and that my work is appreciated. What makes me most proud is when people enter my shop and leave happy.
SEBASTIANO LUNARDELLI
The Alchemist of wood
Sebastiano Lunardelli's story is rooted in family tradition. The seeds of his passion for woodcraft were sown at an early age, growing up among the wood shavings of his father's workshop. His passion blossomed into mastery by breathing in the art, culture and beauty of Venice, and has become increasingly refined with an eye to contemporary design. The captivating blend of wood with different materials gives rise to a sort of alchemy, and a poetic transformation of nature into objects of art.
SEBASTIANO LUNARDELLI
How has your work evolved over time?
We use both manual work techniques and numerical control machinery. We always look for an innovation in our products from a creative point of view. Such as using the barrel of Murrina glass jointed by melting them on the side rather than cut from the head, or the creation of molds for glass blowing.
We take inspiration from everything that the city offers and transform it, like a simple product such as a “bricola”.
Nature gave us the tree, we immersed it in the water to point out the navigation paths, and the action of the Teredine (Teredinidae - Shipworm) created like a lace all around. What I did was simply cut the bricola, smooth it, polish it and treat it with virgin beeswax. My intervention on this object is minimal, leaving intact the intrinsic value of wood and waxing, and above all enhancing the unique design that resembles a lace, the result of the action of Teredine on wood while immersed in water.
SEBASTIANO LUNARDELLI
Have you had to adapt your work over the time since you started?
Yes, it's all about evolving. My work is essentially simple, because I use manual chisels and so on, but many objects are made with three-dimensional modeling systems, for which we use special software. The challenge is to remain anchored to tradition, pointing to the future and new technologies, but at the same time not be a slave to it. An artisan must use technology for his own purpose; he must not be subservient to technology.