Giacomo Bevanati is an artist specialising in handwoven wire sculpture, known for transforming industrial metal wires into delicate, ethereal 3D forms. Drawing on his background in Product Design and Architecture, he combines structural precision with a unique, self-taught sewing technique. His work explores the boundaries of visual perception and transparency, ranging from monumental free-standing sculptures to avant-garde wearable masks and jewelry.

Bevanati’s distinctive aesthetic has earned him international recognition, with exhibitions at prestigious events like Homo Faber and Exempla, as well as appearances at Milan and London Fashion Weeks. His creations have been featured in leading publications such as Vogue, AD, and 10 Magazine. Bridging the worlds of fine art and high fashion, his pieces have been worn by celebrities like Mette for Metal Magazine and Minhi Wang on Canada’s Drag Race, reflecting his growing influence in contemporary sculpture.

Exploring the delicate alchemy of metal, Giacomo Bevanati transforms industrial wire into ethereal 3D forms by blending architectural rigor with a unique, self-taught sewing technique. The work deeply investigates the tension between transparency and volume, using hand-stitched steel and brass to create "gossamer veils" that invite the viewer to look through the material rather than just at it. By meticulously manipulating light and shadow, these sculptures challenge our visual perception of weight and density.

By elevating non-noble metals into intricate, skeletal structures, the studio bridges the gap between fine art and avant-garde fashion. These creations—ranging from monumental sculptures to fluid, wearable masks—have been showcased at prestigious global platforms like Homo Faber and London Fashion Week, while earning features in Vogue, AD, and 10 Magazine.

Whether worn by celebrities such as Mette for Metal Magazine and Minhi Wang on Canada’s Drag Race, or displayed in a quiet gallery setting, every piece remains a tactile meditation on the space between the solid and the void. The result is a modern alchemy that turns rigid, industrial wire into a poetic, light-filled mystery, inviting a closer dialogue between the human form and the structures we inhabit.

Giacomo Bevanati is a wire artist based between Manchester and Córdoba, Spain. Balancing a structural background with high-end craftsmanship, he holds a Bachelor’s degree in Product Design and a Master’s degree in Architecture, which provided him with a technical understanding of 3D modeling, structural tension, and spatial volume.

Bevanati’s path into wire art began entirely by self-taught experimentation during his studies, where he developed a unique, freehand sewing and stitching technique. Transforming industrial brass and steel wire into complex, fluid geometries, his practice oscillates between fine art and avant-garde wearable sculpture. His signature pieces include meticulously crafted, transparent volumes inspired by mythology, traditional folklore, and contemporary human rituals.

Since beginning his artistic career in 2016, Bevanati’s works have been featured in international fashion publications such as Vogue, AD, and 10 Magazine, and showcased globally at prestigious platforms including London and Milan Fashion Week, London Craft Week, and the Homo Faber Biennial.

My practice embraces hybridization as a condition rather than a choice. Operating at the intersection of body architecture, fine art, and contemporary wearable sculpture, I build three-dimensional metallic skins that challenge binary structures.

Influenced by the concept of relational entanglement, my work transforms industrial wire into an organic, flexible framework that coexists with the body and its environment. I do not create fixed, definitive artifacts; instead, I build porous interfaces where the physical and the digital, the ancestral and the future, blur together.

For the AMALGAM exhibition, this dialogue manifests through an unexpected convergence of sci-fi imaginary and historical opulence. By reimagining a UFO-shaped hat alongside sculptural body ornaments inspired by Baroque attire—a corset, a jabot, and a codpiece—I distort the boundaries of time and form. These hand-woven wire armors do not conceal the body; instead, they hybridize it, turning historical dress and futuristic archetypes into an interconnected, transparent second skin where past and future merge.