13 March 2026
Artist Highlight - Giacomo Bevanati
Interview and Review
Based between Manchester and Córdoba, Giacomo Bevanati is an artist specialising in handwoven wire sculpture. With a Bachelor’s in Product Design and a Master’s in Architecture, he combines structural knowledge with a self-taught sewing technique to transform metal wire into ethereal, 3D forms. His work explores visual perception and transparency, ranging from free-standing sculptures to avant-garde wearable masks and jewellery. Bevanati’s work has been shown at Homo Faber, Exempla, and Milan and London Fashion Weeks. His pieces have been featured in AD, Vogue, 10 Magazine, and were worn by celebrity Mette for Metal Magazine.
ARTIST INTERVIEW
1. ECHOES draws inspiration from the traditional Sardinian Mamuthones masks. What aspects of this ritual heritage informed the conceptual development of the piece?
ECHOES is rooted in the ancestral, rural symbols of the Mamuthones, a ritual still performed during the Sardinian carnival. Traditionally, these figures wear heavy, dark wooden masks and carry 30kg of metal bells to exorcise evil spirits and bless the land. I was captivated by how this ritual makes the invisible—spiritual protection and the change of seasons—tangible through a heavy, rhythmic gait. By replacing wood with transparency, I reveal the mask’s 'soul,' approaching craftsmanship as a meditative ritual that honors the time factor in our digital age and the memory of ancient heritage.
2. The work transforms industrial steel wire into an intricate, almost weightless structure. What interests you about this contrast between material strength and visual fragility?
My interest lies in how industrial steel—typically seen as rigid and cold—can be transformed into something ethereal through physical tension. The strength of the sculpture doesn’t just come from the material itself, but from the intensity I apply to every single knot. Each loop is a point of resistance and balance, creating a structural integrity that belies its weightless appearance. I love this contradiction: the work is visually fragile and transparent, yet it is held together by the disciplined tension of my hands, mimicking the resilience found within both the nature of craft and our heritage.
3. Each form is constructed loop by loop through a hand-weaving process. How does this repetitive gesture shape the rhythm and structure of the sculpture?
The repetitive, loop-by-loop construction is a meditative dialogue between my hands and the metal. This rhythmic gesture is more than a technique; it dictates the sculpture’s growth, allowing the form to emerge organically without support while ensuring structural stability. Each loop acts as a structural anchor, changing the wire’s direction and building the tension that defines the final volume. This precision directly influences how the mesh interacts with light and shadow, ultimately turning industrial wire into a vibrant, pulsing structure that feels alive.
4. The mask traditionally conceals identity, yet in ECHOES transparency allows the wearer to remain visible. How does this shift change the meaning of the mask?
Traditionally, a mask is a tool for concealment; you become the character and lose yourself. In this case transparency bridges this gap. You inhabit the archetype of the Mamuthones while remaining entirely visible. This shift represents the modern condition: the acceptance of wearing various roles within society without losing your true identity. It is no longer about hiding, but about revealing your essence.
5. Your work moves between sculpture and wearable object. How does the presence of the human body influence the design and spatial qualities of the piece?
I view wire sculpting as a form of free expression for interacting with and extending the human body. To me, the body is a blank canvas; each sculpture follows a specific concept that only fully realizes itself when worn. The anatomy guides the curves and volume of the wire, transforming the piece from a static object into a spatial extension of the wearer’s own presence and identity.
6. The woven structure creates a delicate interplay of light, shadow, and transparency. How do these visual effects contribute to the experience of the work?
The sculpture’s perception depends on how light interacts with its surface. The woven steel creates a textured skin that captures and reflects shifting light, making the passage of time tangible. As the sun moves, the highlights on the wire shift, emphasizing that the work isn't just about the shadows projected into the space—it is about how the metal itself breathes. By capturing these changes, I turn a static industrial material into a living record of the present moment.
7. Within The Invisible Made Visible, your work highlights the labour embedded in slow craftsmanship. What aspects of the making process do you hope viewers become aware of when encountering ECHOES?
In an era of digital speed and AI-driven production, my work is a 'slow rebellion.' By constructing each form loop by loop, I reclaim time from a world that skips the process to reach an instant result. This labor is a sacred ritual that seeks to make the invisible visible: giving shape to the passage of time and the weight of ancestral memory. I hope viewers sense the depth of this dedication—a quiet resistance against the ephemeral—and recognise the value of a creation that demands patience, presence, and a human soul.
TRANSPARENCY, RITUAL, AND THE PRESENCE OF CRAFT
REVIEW BY CHIH-YANG CHEN, ART DIRECTOR
Giacomo Bevanati’s practice transforms industrial wire into intricate sculptural forms that hover between object, garment, and spatial drawing. Working with a self developed hand weaving technique, Giacomo constructs delicate mesh structures loop by loop, shaping metal into forms that appear almost weightless. His work reflects an interest in perception, transparency, and the relationship between structure and the body. In ECHOES, Giacomo reinterprets the traditional Sardinian Mamuthones mask, translating a ritual object associated with weight and concealment into a transparent and quietly luminous sculpture.
The Mamuthones figure traditionally wears a heavy carved wooden mask accompanied by large metal bells during Sardinian carnival rituals. These performances are tied to ideas of protection, seasonal transition, and spiritual presence. In Giacomo’s interpretation, the dense wooden surface of the mask is replaced by a woven structure of steel wire. This shift from opacity to transparency fundamentally alters the reading of the object. Rather than concealing identity, the mask allows the wearer to remain visible, suggesting a contemporary perspective in which identity is layered rather than hidden.
Material transformation plays a central role in the work. Steel wire, commonly associated with rigidity and industrial function, becomes fluid through Giacomo’s meticulous weaving process. Each loop is formed by hand, gradually building a mesh that holds its volume through tension and balance. Although visually fragile, the sculpture maintains structural integrity through the accumulation of hundreds of small gestures. This contrast between material strength and visual lightness gives the piece its distinctive presence.
Light further activates the work. The woven surface captures and reflects subtle shifts in illumination, allowing the structure to change throughout the day. Highlights travel across the wire while shadows form delicate patterns within the surrounding space. These changes reinforce the sense that the sculpture is not entirely static but responsive to its environment. The mesh becomes a kind of porous skin through which light, movement, and atmosphere pass.
The relationship to the body is equally important. When worn, the mask extends the contours of the wearer’s head, transforming the sculpture into an architectural form that occupies space around the body. Giacomo approaches the body as a site where sculpture can become active rather than purely observed. The piece therefore exists between wearable object and independent artwork, shifting meaning depending on how it is encountered.
Through ECHOES, Giacomo also foregrounds the value of slow craftsmanship. Constructed entirely by hand through repetitive gestures, the work carries visible traces of time and attention. In a cultural moment defined by speed and digital production, this process becomes a deliberate counterpoint. The sculpture embodies patience and concentration, suggesting that material, memory, and human presence remain inseparable within the act of making.