José Ángel González del Río

José Ángel González del Río

artisans,asturiasmap

1962

iain

Asturian,Spanish

Artisan

671

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Spain

José Ángel González del Río

TEXT

José Ángel González del Río was born in 1962 in Cuero (Candamo). He began working in basketry at the age of 12, a craft to which he has devoted his entire life and which has been his main source of income. He learned the art at home, guided by his grandfather and father, making various objects. During his youth, he worked alongside his father in the family workshop, where they produced pieces that were sold to local shops, which then handled their distribution. Later, he moved to Oviedo to work in another basketry workshop for two years, although the working conditions there were not favorable. At the age of 27, he decided to become self-employed, founding his own basketry business, an activity he continues to pursue to this day. Around 1985, he moved to the town of Grau/Grado, where he currently resides. Although the workshop was located in his hometown, the lack of basic services—such as a telephone, whose installation was very expensive at the time—and limited access to transportation led him to relocate to a larger town. The distance between the two places is just five kilometers. He plans to retire in 2027.

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José works in the workshop with his sister Mari. Both acquired their knowledge and skills in basketry from their grandfather and father, who were basket makers in the village of Cuero (municipality of Candamo). In the 1970s, almost every household in the village made basketry items. There was even a wicker and chestnut workshop that employed around 20 people. Another workshop existed in the nearby town of Forcinas (Pravia). Basketry was an alternative source of income for farms, alongside agriculture and livestock. Both men and women worked in the trade, sharing the tasks. The family business was started by their grandfather in a home-based workshop, and their father continued the work. They were dedicated exclusively to basketry and did not practice other trades such as carpentry. José would have liked to learn other crafts as well, such as wood carving.

He hasn’t had any apprentices, nor has anyone shown interest in learning his craft directly from him. He has taught many basketry workshops at craft fairs, and even some outdoors in the garden of his home. However, these are very basic courses, held in a single afternoon, where participants leave with a finished basket—but they’re not enough to truly learn the trade. He believes that making complex items, such as armchairs or custom-sized boxes, is much more difficult and cannot be learned in just one afternoon. It’s not a craft you can master in six months. To reach the level of making pieces like an armchair, José spent many years working with his father from a young age, gradually learning to make each part. He would make the base, and his father the upper part. Through hands-on experience and constant observation, he learned how to make them. Chairs, for example, involve a certain level of complexity. He would be willing to teach his craft to others without hesitation. He has no problem sharing his knowledge. But very few people show interest in basketry, and he has never had an apprentice who wanted to continue the trade. Occasionally, people come asking for short courses and such, and he has had a few students who showed genuine interest in learning. At times, people have suggested that he bring someone else into the workshop, both to help and to pass on the craft. But as José says, “you don’t earn enough to pay them.” Of course, they would have to be hired as employees, which means covering their salary, taxes, and social security contributions.

Santiago Rodríguez Pérez,

male

native

There’s an Asturian saying that goes, “Whoever makes one basket can make a hundred.” But well, that’s not always the case—basketry requires a certain level of skill. The craftsperson must understand the raw material and know how to prepare it—wicker—giving it the right level of moisture. Patience is also essential, as making each piece takes time and dedication. It’s important to know some basic techniques. Weaving is relatively easy; the most complex parts are the finishing touches, the handles, and shaping the piece…

The basic material used by José and Mari in their workshop is wicker. They mainly work with buff wicker, but also use white and black wicker. All these materials come from the same tree; the difference lies in how they are processed: white wicker is obtained by peeling the bark off the branches, while buff wicker is cut and boiled with its bark on, which gives it its characteristic bright orange tone, before being peeled. Black wicker is produced by boiling it several times in succession. Boiling does not improve the material’s properties—it simply changes its color. They also use natural, unpeeled wicker. Buff wicker is the most commonly used in basketry. All types are workable, although white wicker may be easier to handle, as it is a more noble and malleable material. They also work with rattan, a material that comes from Asian countries and is derived from a climbing plant. Due to its fineness and flexibility, it allows for greater creativity and the creation of much more complex shapes. They use chestnut wood as well, though in smaller quantities. Hazel (also known as ablano), which was traditionally widely used in basketry—especially by cutting thicker trunks to obtain strips—is no longer used, since materials now arrive pre-prepared and they no longer produce their own raw material. The materials somewhat determine the types of objects that can be made. Basketry with chestnut strips is more limited; wicker rods allow for more creative pieces; and rattan enables much more complex and delicate shapes, as the fiber has a uniform thickness and is more flexible (which is why it is widely used in workshops). Nevertheless, wicker remains the material used for the majority of their production. As for varnishes, they are no longer used today. In the past, all pieces were varnished with glossy varnish, and chestnut items were waxed.

full-time paid job

Traditionally, his grandfather and father would gather wicker from the riverbanks —from trees of the Salix genus— where they went to cut it. In the Asturian language spoken in the area, willows are called mimbres or salgueiros, and the thin, elongated branches used in basketry are known as blimas or bilmas. In addition to wicker basketry, they also made baskets using chestnut or hazel wood, cutting the straight trunks into thin strips called baniellas. His father and grandfather would spend a week collecting materials along the riverbanks, using a bicycle with a small trailer. They usually went to the banks of the Nalón River, near the area of Forcinas (municipality of Pravia). They stored the materials in the homes of local neighbors and slept in barns; as a token of appreciation, they would gift a basket to the homeowners. Nowadays, cutting chestnut or hazel trunks, boiling them, slicing them, etc., is a labor-intensive and unprofitable task. Nevertheless, some people still do it, such as retired artisans of a certain age — like Tito from Paredes (municipality of Valdés), another from Navelgas (also in Valdés), and another from the municipality of Cangas del Narcea. Currently, both wicker and chestnut strips are sourced from suppliers in Salamanca —such as Artesanías Laz-mar (https://www.laz-mar.es/) or Mimbrecor— or from Valladolid (e.g., Juan García). Rattan is obtained from suppliers in Valencia and Barcelona, such as the company MasValls (https://masvalls.com/), or from others who import it from Asian countries. They also use a rope made from algae, which is supplied by Arte Vértice (https://www.artevertice.com/). Over time, they have worked with various suppliers from Salamanca, Cuenca, and Valladolid. Occasionally, friends provide them with local materials. The most commonly used materials are wicker and, to a lesser extent, chestnut. Rattan pith is frequently used in workshops and for fine or artistic pieces. There are generally no issues obtaining these materials, although they may be scarce at times due to exports. In recent years, the price of wicker has increased. In terms of cost, rattan is the most expensive material. There is no material that is particularly difficult to obtain, although chestnut —which comes from Baños de Montemayor, in the province of Cáceres— can sometimes be hard to source. Wicker is cultivated in large industrial production areas, especially in Salamanca and other parts of Spain, using specialized machinery.

In basketry, scraps can be reused in various ways. For example, if leftover rod cuttings of a certain length remain after making a piece, they can be repurposed for the base of a basket or for crafting smaller items. Although some waste is generated, almost everything is utilized. The remnants that can no longer be used in production are used as firewood or fuel for fireplaces and wood-burning stoves.

In the past, the process was much longer, as it was necessary to obtain raw materials from the natural surroundings. One had to go to the riverbanks, where the trees grew, to cut the necessary branches (blimas). The best time to harvest the fibers was during the waning phases of the moon, and two harvests were carried out each year. Afterward, the material had to be peeled, boiled, and cut to the appropriate size. Nowadays, peeling is done with machines, but in the past, it was done while the material was still green, using two sticks like tongs to remove the bark from the fiber. Currently, the material is sold in bundles, sorted by size and in various qualities: more or less flexible, with greater or lesser resistance, hardness, number of knots, etc. Upon receiving it, it is stored and then soaked in water until it reaches the optimal point for working. It must be moist, as it breaks when bent if it is dry, and can also break if it is too wet. Peeled wicker requires between 1 and 2 hours of soaking, while unpeeled wicker may need up to 8 days. White wicker needs less time; boiled and black wicker require more. The artisan knows it is ready simply by touch. Depending on the piece to be made, the material is selected based on thickness and length. The essential part of the process is hydration, which is done in vats—often the same ones that were traditionally used to boil the wicker, helping to achieve a brighter color and making peeling easier. Once hydrated, the blimas are selected. For the basket bases, the thickest ones are chosen to form the stambres: the pieces that make up the base on which the weaving is done. The base can have various shapes and be assembled manually or with the help of guides such as the taruco, a wooden slat with holes where the pieces are fixed in parallel before weaving. With the base ready, the next step is estambrar, which involves placing the vertical estambres (blimas or rods) that shape the body of the basket and on which the walls are woven. To fix them to the base, cordones are used: four thin blimas that are interwoven with the estambres and the base to secure them. The next stage is weaving the basket. If it is a basket with a handle, two long estambres are left to form the handle. Then, weaving begins by passing the blimas between the estambres, shaping the body of the basket. Depending on the desired shape of the basket, it can be woven by hand without any support. However, in the case of truchera baskets (for fishing), molds or forms are needed—shaped like the basket and available in various sizes—to give it its final shape. Once the body is woven, the upper part of the basket is finished with an additional weave that provides the necessary firmness. This finishing is called the arbín, and it consists of three or four wicker rods woven simultaneously, known as cordones. Sometimes, to speed up the process, the work is divided between the two siblings. For example, she makes the basket bases, and he handles the finishing. In fishing baskets, Mari makes the base, José weaves the body, and Mari finishes the lids. The work alternates depending on the piece. Mari usually handles the bases, lids, handles, coloring, and varnishing.

The tools used in basketry are simple. In wicker basketry, the main tools are a knife, an awl, and scissors. The knife is used to cut the blimas to the required length or to split them. The awl is used to make holes in the weave to insert rods, and the scissors are used to trim excess material once the basket is woven. Additional tools are also needed. Molds are chestnut wood pieces that serve as forms for making certain types of baskets. For example, river fishing baskets are made using solid chestnut wood molds. Once the basket is woven around them, the molds can be disassembled and removed through the opening of the finished basket. There are also molds for railway baskets, sea fishing baskets, and Dutch-style baskets. These are very old pieces (some over 80 years old), inherited from his father and grandfather. José has also made his own molds for custom orders and specific designs. The cepo is another type of mold—a solid chestnut piece shaped like the rim of a basket lid. The rims are fixed to it using heat to increase flexibility and allow them to be shaped. They are then left for several days until they retain the desired form. José also makes his own molds when needed. In basketry using chestnut or hazelnut strips, specific tools are used: •The cuchilla, to split logs and obtain strips. •The rasera, a double-handled blade used to clean and smooth the wooden strips. •The cuña, a small iron tool with a handle used to adjust the strips (baniellas) in the weave. As the basket dries, the strips separate, and the wedge is used—struck with a hammer—to bring them together and eliminate gaps. More specialized tools include: •The grifa, used to bend or straighten thicker wooden pieces, such as chair legs. •The banco de forma, a vertical board with holes where sticks are inserted to shape them. The number of tools has decreased over time, as raw materials now arrive pre-processed and cut to size. They own a machine inherited from their grandfather, now unused, which was used to remove the core of wicker blimas and turn them into very fine strips. These strips were used to cover basket handles or make delicate lids. However, the machine is no longer used because the material now comes already shaped. Tools that are no longer in use include the wedge, the scraper, and the peeling machine. Most of the tools were inherited from the family, although José has also acquired modern electric tools over time.

These are simple tools used in a creative process that is fundamentally manual. Most of them were inherited from his father and grandfather, which gives them a strong sentimental value. Additionally, some tools—such as the wedge or the scissors—are specific to his craft and not easy to find, so they have had to be repaired on occasion to keep them functional despite their age.

His work relies primarily on manual energy. However, for certain processes, he requires electrical energy, which he obtains from the conventional power grid. His workshop has no windows, so artificial lighting is needed at all times. Still, having access to natural light would greatly improve the working conditions. He does not use renewable energy sources for lighting or heating. Since the workshop is located on the ground floor of a building in an urban center, implementing such systems is difficult. Nevertheless, the space is well insulated and warm, so in winter he rarely needs to turn on an electric radiator for heating. In summer, the workshop also remains cool.

The waste produced mainly consists of leftover pieces of wicker and other fibers used in crafting. These scraps are reused as fuel for wood-burning stoves or for heating homes. If not reused, they are disposed of as organic waste. No hazardous waste is generated, as all the materials discarded are biodegradable.

His first workshop was located in Cuero, in the family home. Later, they moved to Grau/Grado and worked in various locations until settling in the current one, which they opened in 2012. The workshop is located at the back of their store and is a small space, barely 30 square meters, where they store raw materials, tools, and carry out their work. A large workspace is not necessary, as the artisan usually works seated on a stool, shaping the pieces with the help of hand tools and molds. The workshop is connected to the store, allowing them to pause their work at any moment to attend to visiting customers.

They create all kinds of basketry items, especially in wicker. Their production is highly varied: from round baskets with a handle—a basic and simple piece—to chairs and armchairs, lamps, boxes, trunks, trays, Christmas baskets, cradles, vases, sports trophies, umbrella stands, and covered bottles, among others. In other parts of Spain, it is common for workshops to specialize in a single type of product (such as baskets, chairs, or armchairs), but José and Mari make all kinds of items. In addition to crafting new pieces, they also restore old ones. They repair the vegetable weaves of rush or esparto chairs and create new upholstery using natural fibers, either on antique furniture or on pieces that are being given a new aesthetic. They work with a wide variety of fibers used in basketry: wicker, chestnut wood strips, rattan, esparto rope, paper rope, and more. Currently, most of their production is focused on decorative items or custom orders made by individuals, florists, bakeries, greengrocers, and other clients. Traditional types of pieces—such as the cesto rey (used to carry soil, fertilizer, or grass) or the goxos (large baskets for storing grain)—have now become decorative objects, ethnographic pieces, or are used to store firewood or blankets. However, some of these items are still used in the countryside. A few years ago, they also produced many fishing baskets and Christmas baskets, although that production has declined. Many of their creations are based on traditional designs, but they also develop new models and original pieces, inspired by examples found online and on social media, or based on custom requests. For instance, they have introduced new lamp designs inspired by models seen on the internet. They have received a wide range of commissions: gazebos, cradles, pet accessories, bed headboards, sewing boxes... On one occasion, they even crafted the basket for a hot air balloon.

The main purpose of their entire production is for sale. Most of it is sold directly to the public, another portion is through custom orders, and a third goes to long-time clients who resell the items in shops located in different parts of the country.

The artisan has a physical store where he sells all his items directly to the public and also receives ongoing custom orders from clients looking for specific pieces. He also maintains relationships with several shops that were already clients of his father, supplying them with fishing baskets and other products. These stores, located in Asturias and the Galicia region, purchase part of his production. He no longer attends craft fairs or markets, as sales were limited and did not justify the effort involved in traveling, setting up the stand, etc. He only participates in local fairs. Occasionally, it was worthwhile if a craft workshop was included, but in recent times he prefers to continue working in the workshop and attend only specific commitments. He receives a wide variety of orders from individuals, bakeries, florists, and others, for whom he makes baskets, displays, trays, vases, and more. For florists, for example, he creates many vases for flowers and events. He also fulfills requests for furniture pieces.

Restoration of furniture and objects made entirely or partially using basketry techniques and vegetable fiber weaving. Renovation of woven furniture (chairs, armchairs, etc.). Custom orders for all types of basketry items. Consulting services on topics related to basketry. One of the most requested services in recent times is the repair of chair seats made with vegetable fibers such as rush or esparto grass. Chair and seat restoration is a very common task. Basketry workshops have been offered occasionally, but it is not a service provided regularly.

He receives orders to restore and repair all kinds of items related to basketry and vegetable fibers. For example, it is common to repair bakery baskets, which tend to wear out with use. Whatever the issue, he is open to finding solutions and maintains direct, personalized communication with the client.

Customers are very diverse, both local and foreign. There are different profiles: from local clients who seek specific products, to international tourists who appreciate handcrafted work and are willing to pay a high price for it. In their experience, there is a clear distinction between the local customer—regular, who sometimes finds the product expensive and tends to haggle—and the foreign audience, for whom the prices are very affordable. This reflects differences in purchasing power and, at times, cultural factors. Differences are also observed between age groups, both young and old. During the summer, the store receives a large influx of foreign visitors, especially tourists and pilgrims, as the Camino de Santiago passes right by its door. They receive all kinds of custom orders: made-to-measure furniture and drawers, Christmas baskets, among others. They also receive orders from outside Spain. For example, they have a client in Switzerland who imports Christmas baskets, since this type of product is hardly marketed in Spain nowadays. Bakeries are another regular customer, for whom they make baskets to store and sell bread, as well as flat trays for empanadas (an empanada is a filled dough preparation, usually baked, typical in many regions of Spain). Social media serves as a showcase for their handcrafted production. It allows them to reach a wider audience and facilitates the sale of their products. Years ago, the peak work season began at Christmas. From August or September, mass production of Christmas baskets would begin. Once that campaign ended, production shifted to fishing baskets. At one point, they supplied many stores throughout Galicia. However, in recent years, production of both items has declined, and now the focus is more on the summer season and tourism. Customers especially value that the product is locally made, and many are specifically interested in the quality and regional origin of the pieces.

Their production does not carry any certification or label. They are only listed in the Asturias Artisan Registry, which is maintained by the regional government. However, this registration does not offer any advantage for their business. They do not apply for public aid and do not consider it to add any value to their products.

They do not participate in activities directly related to tourism, beyond selling their products to tourists. On one occasion, the local council proposed organizing a workshop, but the initiative did not materialize. They have conducted a few very small workshops for visitors. They do not plan to get involved in such activities, especially since retirement is approaching.

“Los extranjeros no miran el precio, cogen lo que les gusta, lo traen, y lo pagan sin quejarse. Los de aquí siempre tratan de regatear”

They do not belong to any artisan group or association. They maintain relationships with other artisans in their area, but not through any formal platform or organizational structure. They collaborate with Natalia Suárez (Woodic, https://woodic.es), for example in exhibitions such as the one held at the Oviedo Conference Center (https://www.instagram.com/p/C72HniXs7Rd/) or at the Grand Palais in Paris during the Fine Craft & Creation Biennial (May 21–25, 2025, Grand Palais, Paris) (https://www.instagram.com/woodic.es/p/DJ_Tt8ONncw/). In this case, they combined traditional basketry with ceramic pieces to create artistic works. Regarding public institutions, they have collaborated with the Muséu del Pueblu d’Asturies and the Muséu Etnográfico de Grau/Grado. They have also worked with the Grau/Grado City Council (the municipality where they live), participating in craft fairs such as the La Flor festival, and organizing basketry exhibitions at the local cultural center. In 2022, the Muséu del Pueblu d’Asturies —the most important ethnographic research center in the region— produced a documentary about their work, documenting the entire process of making a railway trunk/basket. They also collaborate with the museum in restoring old basketry pieces.

One of the main challenges that both José and Mari emphasize is the amount of bureaucracy that small artisans like them must face. In their case, for example, they mention taxes, such as those paid for the workshop space or the 21% VAT applied to each item sold. They do not own a computer and find the amount of paperwork excessive. Like many self-employed workers, in order to carry out their basketry work, they must issue invoices —now electronically— and deal with a significant bureaucratic burden, including tax declarations, social security contributions, workshop insurance, civil liability coverage, and many other requirements. Moreover, the legislation applied to small artisans is the same as that for small and medium-sized enterprises, which means that some maintenance costs, such as water bills, are high despite low consumption. One example is when they export pieces to Switzerland: they’ve encountered issues at customs because their invoices are still handwritten, which increasingly causes problems as paper invoices become less common. They believe a possible solution would be the creation of a special legal status for artisans, with a classification within economic activities that would allow them to work with fewer bureaucratic obstacles. Their production volume and income are not high. For instance, during the COVID-19 pandemic, the government proposed a series of aid packages for businesses affected by declining sales. In their case, they were not eligible because they were classified as a workshop rather than a retail business —even though they sell their products directly in the workshop’s store, alongside other items. Another major issue is the number of hours the craft demands. José arrives at the workshop every day at 8 a.m. and spends nearly the entire day there. He continues in the trade because he enjoys it, but the number of hours required is disproportionate to the income he earns. In another job, he would have a salary and a fixed schedule, but here he also has to cover numerous expenses, such as rent, taxes, and basic services. What keeps him going is the freedom of working in his own space. While working, he feels immersed in his own world, doing what he loves. Despite creating local, sustainable artisan products, he must compete with foreign goods, such as those produced in Southeast Asia at much lower costs. He says it’s a shame that this craft is disappearing. He receives orders from all over Asturias and insists that there is no one else in the region making custom pieces. He repeats that there are no basketry shops or artisans left in Asturias. He receives no support of any kind —neither financial nor social. In fact, he has even had problems with the local police in Grau. They don’t allow customers to stop for even a few minutes in front of the shop to pick up their orders. People pull up with their cars, lights on, wearing safety vests —and they’ve been told to leave. He doesn’t ask for help, just to be allowed to work. He admits this wears him down, and little by little, he’s burning out. If he were working for a company, he wouldn’t have this problem. He says it’s a shame to give it up, but he’s tired. He’s decided to focus only on the most basic tasks. He feels exhausted —he’s been working for over 50 years, since he was 12— and now he just wants to do simple things.

“Cuando lo dejen esos, que tan jubilaos, no encuentras a nadie que te haga un sillón de mimbre. Y aquí en Asturias, no sé si encontraras a dos que te hagan un sillón de mimbre”. “Casi nadie recoge encargos ni hay quien te haga ya estas cosas”. “la pena es que cuando esos cuatro que quedan no hagan nada, no queda nadie […]. Un cesto lo hace cualquiera […] pero cosas más complicadas, ya no hay nadie que las haga. Las cestas de pesca van pa Galicia […] allí ya no hay nadie que los haga. “Muchas horas… y luego tampoco cobras lo que tienes que cobrar…” “Y sacas un sueldín, porque aquí, claro, la renta, la luz, el agua, impuestos…

Anon. (2021). «El arte de tejer con mimbre». El Correo de Central Lechera Asturiana, n.° 428, pp. 48. Anon. ([s. f.]). «El arte de tejer con mimbre». El campo y la mar. La revista del sector primario en Asturias., n.° 18, pp. 26-27. Cultura Gijón Xixón. 2021. Cestería de mimbre. Fabricación de una maleta de ferroviario. https://www.youtube.com/watch?v=nRu5k63MvJQ Fanjul Mosteirín, José Antonio; Rodríguez del Cueto, Fernando; Expósito Mangas, David (2024). La cestería en Asturias: Una técnica milenaria. Gijón / Xixón: Red de Museos Etnográficos de Asturias.