Roland Daraspe

Blacksmith then mechanic in aeronautics, glassmaker with an American artist, and silversmith!
He made jewels and then continued with metal since he had originally learned this technique. Then there was a natural evolution, constantly challenged. The uncertainty of creation, but the certainty of being …

In 1992, a fifteen-year retrospective of his work was presented by Jacqueline du Pasquier, chief curator, at the Museum of Decorative Arts in Bordeaux. This recognition increased his motivation tenfold and the increasingly demanding orders that followed spurred his imagination, forced him to constantly push back his limits, to tend towards more research and achievement. The same museum, under the aegis of Bernadette de Boysson, crowns in 2008 the work of maturity. Numerous prizes and reception at the Academy of Sciences, Beautiful Arts and Letters of Bordeaux punctuate the course that his peers have recognized as that of a contemporary artist. Now, one recognizes his style – a balance between momentum, lightness, and strong evidence. Something rather timeless too, without him consciously searching for it.

The work of Daraspe is based on creation, and it goes through multiple phases, drawings, certainties, doubts, research, chess more varied. He knows that he must accept that before realizing the project he wants beautiful, superb, he will go through phases of austere toil, deafening hammering over the days. The certainty of getting there makes it go beyond these repetitive, demanding sides. For him, art is work, not concept. Over time, he has come to an irreducible strength and confidence, and he knows that the magical side of transformation will come into play, that it will become euphoric. The physical phases are unavoidable, they are there to be overcome, the matter must be tamed, it must go into it, it is a melee, a fight where the man must triumph. He believes in the therapeutic value of the concrete. He likes a piece to be in focus, well finished, functional, durable, pleasing to the eye and to the touch. Goldsmith must be like that.

But the pleasure of the eyes is not enough for him. Like the violin, the object must have a soul. It can only arise from the encounter of the concept, the material and the hand of man, who with his sensitivity will integrate love. From the demanding shaping of the metal, there is something vibrating in the object, a part of it is there, visible, present. And that’s what those who choose their creations feel and love.