These days, in which mass production is everything, to find this family business on iron crafts is gratifying. Their skill with the forge dates back from centuries, with a search for beauty full of sentiment, recycling, the maximum use of the material and a thoughtful look to what people are and need.

In what year was Deferro founded? And, how much recognition has received to the date?

In June, 2008. We have been invited to take part in several group exhibitions, with well-known craftsmen and consolidated designers. Just being there is a recognition to our work and to us.

How and when do you decide to devote yourselves to craftsmanship?   

I was working in a metal carpentry and I was in charge of all the detailed work, little by little I started to perfect techniques, and so I learnt the art of moulding iron. I fell in love with this job, and when I saw an opportunity I left my job in the industrial ironwork and started to work as a craftsman. I am very happy with the change, as I truly enjoy what I do.


Could you explain us what techniques do you use and what they consist of?

We work with hot iron through the forge tradition and in cold through blows of a hammer.

Another of your merits in your most personal creations is recycling and the maximum usage of material. Does this condition the viability of the products, or is it a factor that is starting to be valuable?

We firmly believe in recycling, that is why we take advantage of industrial waste such as washers, pottery cut-off wheels, water tank boilers, etc., for a usage that has nothing to do with the one that the original objects had before. Moreover, it is a factor with an increasing value.

Which piece, or pieces, made in the workshop do you feel most proud?

That’s probably the last one, a Dromedary of 2.80m tall x 4m large, made with different materials, and to which we give volume by interweaving tubes, rods, platens, etc., that a theatre company commissioned to parade at the 2015 Cavalcade of Magi, in Vila-real.


Even though you collaborate with experienced designers, we can see since some years ago that you have committed to work alongside design students to develop new proposals for illumination or decoration. What have you attained from this experience?

We’ve learnt a lot from all of our collaborations, and since we are autodidacts it is very interesting to us to have another point of view from people who have been taught through rules.

It is true these are not economically compensated projects, but we still think it is worth it, because all the time put on it comes back with a sum of knowledge and good work, and it is always good to create synergies.

Besides being in contact with design students, who always provide new insights and a lot of energy to their designs.

Despite the work at the workshops and administrations, there are many craft disciplines at risk of disappearance during the next century. What else can we do about it? And how do you see the forging situation?           

We believe in the survival of forging, and as other craftsmanship jobs the key is innovation, design and hard work, not being afraid of doing different things; if we keep doing the same as always, the outcome will be the same as always.

We do appreciate handmade work, and this product has its own market. A craft piece is a unique one, and this gives it an added value.