Geraldina Khatchikian
Geraldina Khatchikian is an Italian multidisciplinary artist based in London.
Her practice spans abstract painting, contemporary jewellery and installation, and explores the relationship between body, matter and transformation, moving across different scales, from the intimate to the spatial.
At the core of her work is aluminium, particularly metal wire, used both as material and metaphor: a line of tension, a trace of memory, an extension of gesture. Through a slow, repetitive, hand-weaving process, the metal acquires a fluid, organic quality, expanding from the pictorial surface to the body and into installation space.
Her work investigates the dualities between fragility and structure, vulnerability and resistance, permanence and transition. Craft-based gestures become tools for transformation, while matter retains the traces of time, experience and passage.
Her formation follows a non-academic path, guided by experimentation and independent research. In 2017 she attended specialised courses in jewellery design and metalworking techniques at IED Milan; in 2018 she further developed her painting practice and understanding of the art system through a course at Sotheby’s Institute of Art, New York. Raised in a family of jewellers, she integrates artisanal heritage into a contemporary practice that moves fluidly across media and scale.
In recent years her work has expanded into installation, where painting, metal and gesture unfold into immersive, spatial forms. Jewellery remains an integral part of her language, conceived as micro-sculpture and narrative object, in continuity with her pictorial and installation-based work.
Her work has been presented in international exhibition contexts and featured in publications including The World of Interiors and British Vogue.
“My work begins with the body, as a site of memory, tension and transformation.
I am interested in how matter can hold experience, how gestures repeated over time leave traces, and how identity is shaped through processes of accumulation and release.
I work primarily with aluminium wire, a material that carries both resistance and flexibility. Through slow, manual weaving, I transform an industrial material into fluid, organic forms that expand across painting, jewellery and installation. The act of making becomes a way to inhabit time, allowing form to emerge through duration rather than control.
My practice moves between the intimate and the spatial, exploring thresholds: between inside and outside, structure and vulnerability, permanence and transition. Rather than offering fixed narratives, my work invites a physical and emotional encounter—where meaning unfolds through presence, reflection and passage.”

