About me
At the age of thirty, Gonzalo discovered his interest in Violin making. After finishing his studies, he had the great opportunity to spend three years with Philipp Augustin, an experience that completely marked his way of understanding the trade.
Since 2020 he has been working on his own focused on the construction of new instruments, seeking to create a work with his own personality.
I was born in Buenos Aires, Argentina, in a family with no musicians or any contact with the artistic world.
At the age of twenty I arrived in Spain and after a decade going through different trades, one day I clearly felt the need to express myself through Art, it was something that had to do with a profound change in my life and in the way of understanding it.
I clearly knew my favorite Art was music, and my favorite instrument the Cello. However, after some years playing the Cello, I also felt that was not my purpose, it was only a hobby. I needed to do a something more tangible.
That was how one day I saw everything clear, and immediately I started to build a guitar with Ignacio Paricio to begin building awareness while I waited to enroll in Bele, the Violin Making School in the Conservatory of Bilbao.
The following year I moved to Bilbao where I spent 4 years carrying out the studies of Violin Making, during which I had the luck of enrolling different internships at the workshop of Frederic Becker in Montpellier, Christof Erichson in Hannover and Peter Korner in Mainz, where I was also offered a job position.
Immediately after finishing my studies I moved to Mainz to work at Peter Korner´s workshop, where I had the opportunity to work with historic instruments and learn many details about restoration of old instruments
Nevertheless, the more I learnt I also reinforced the fact that my passion was the construction of new instruments. This is how I arrived at Phillip Augustin’s workshop, where I collaborated for more than three years making instruments for some of the best musicians today and learned the details of the highest quality construction, mainly the holistic conception of the instrument, the art of understanding and developing the criteria that joins all the pieces together.
In this discipline as in any other, there would not have been great advances if it were not for the Mastrers who neverstopped to create works besides excellent, with an immediately recognizable personality. Today my motivation is to continue developing and polishing a line of work, a criterion that allows me to create instruments with their own personality, that talk about me and reflect me, respecting and learning from tradition and innovating continuously.