GLIX ATELIER – JEWELRY AS ART, METAL AS LIVING MATTER

Jerwelry as art, the atelier as a space for research

In the heart of Turin, there is a place where jewelry is not conceived as an accessory, but as an autonomous form—language, body. Glix Atelier was born from this premise: to create wearable objects that are, above all, acts of creation. Not copies, not models to be reproduced, but unique specimens where matter, gesture, and identity meet.

Every project begins in my studio, in a space where art and craftsmanship overlap without ever blending. I work with metals such as gold, silver, bronze, and brass, never forcing them into predictable shapes. I let imperfections guide me, allowing the material to react, resist, and transform. That is how the jewel takes shape.

Glix Atelier is my way of inhabiting the world: through form.

Jewelry is not an accessory, it is a presence

To me, jewelry is not a decorative object. It is an extension of the person. A tension between who we are and what we want to express. It doesn’t need to shine—it needs to speak.

Every ring, every bracelet, every necklace I create is born as if it were a small sculpture. The hand is never neutral, nor is the metal: the final form is a balance between vision and resistance. I don’t seek polished perfection, but the living presence of an object capable of telling a story, of enduring, of transforming over time with the wearer.

My work moves between artistic gesture and goldsmithing technique, without fully belonging to either. Jewelry is not the result—it is the point of contact.

A living material

At the core of my work is material. Metals are not mere supports, but true interlocutors. Sterling silver, natural bronze, brass, gold—each has its own character, its own response to heat, pressure, and oxidation. To know them is also to learn how to let them be, to respect their time and their limits.

I handcraft every piece of jewelry through slow and often complex processes. The techniques I use belong to the tradition of Italian artistic craftsmanship, but are filtered through a contemporary sensibility that rejects all standardization. Only matter, gesture, and care.

Forms that originate from the body

The relationship between body and object is at the center of my research. A ring is never just a shape to be seen—it’s a weight to be felt, a tension between the fingers. A necklace is not just an aesthetic line—it is a sign that divides and connects. A bracelet can be restrictive or liberating. Every object I create is designed to inhabit the body without dominating it, without constraining it, but neither to disappear.

I’m drawn to the power of gesture, the physicality of the object. That’s why many of my pieces have bold volumes, raw textures, irregular surfaces. They are not designed to vanish. They are designed to remain.

Form as language

Every piece of jewelry begins with an idea, but it is never an illustration. I don’t tell stories—I tell forms. The geometries I use—circles, spirals, open structures, arches, fragmented elements—are archetypes that speak to the body before they reach the mind.

I don’t work to represent—I work to evoke. A sculptural ring may suggest a telluric origin, a tension toward solidity, a memory of stone. A totemic necklace may become a protective sign, a vertical extension of the spine. An asymmetrical earring may destabilize, create rhythm, suggest movement.

Design, for me, is an open grammar. Jewelry is a sentence that completes itself only when it is worn.

Always unique jewels

In my work, copies don’t exist. Every piece is unique, even when it belongs to a collection. Seriality only interests me as a starting point for variation. Uniqueness is not an added value—it’s the foundation of my practice. That’s why my atelier has never been a shop: it’s a space for exploration.

Anyone who chooses one of my artisanal jewelry pieces chooses a shape that cannot be replicated. They choose an object with which to establish a dialogue. A ring can become part of one’s identity. A bracelet can bind to a moment. A necklace can mark a transition. There’s no rigid symbolism—there is mutual listening between the creator and the wearer.

Every jewel carries its own intrinsic symbolism. A tangible representation of universal concepts—connection, status, mission, memory, transition. But every potential meaning is distilled into a single symbol that belongs to the person who chooses and wears that piece. Unique, like every individual.

The atelier in Turin

Since 2024, Glix Atelier has been based in Turin, in a neighborhood that reflects me: quiet but full of underground energy, intimate yet open. The atelier is not a commercial space. It’s a studio, a workshop, a small universe where things happen. Those who visit me enter a real working environment: they see the bench, the tools, the trials, the mistakes. They can touch every piece of jewelry, see every imperfection, understand every step.

I also create custom-made jewelry, in dialogue with those who desire it. Personalized wedding bands, rings designed for a specific event, objects that must hold a story. There is nothing more beautiful to me than accompanying someone in that process. The result is not just a jewel—it’s something that is born together.

Custom jewelry, Wedding bands, special projects

Working on commission means entering into a relationship. I never start from a fixed design, but from a conversation. What do you want to express? What shape does that idea, that person, that passage have for you?

The wedding bands I create are each designed individually. They often don’t even resemble each other—each couple has its own story, and the shape must follow that. I don’t believe in fixed codes. I believe in listening and adaptation. That’s why every special project takes time, presence, and deep involvement.

Even when it’s a single silver ring, it all begins with a precise intention: to give shape to something that doesn’t exist yet.

Art, desugn, craft: a liminal space

I’ve always moved within a space of boundaries. Glix Atelier is not a design brand. It’s not a goldsmith workshop. It’s not an art gallery. It is all of these things at once, and none of them in an exclusive way. It’s a project that works on the identity of the jewel as an autonomous form, capable of dialoguing with contemporary art, body culture, and traditional craftsmanship practices.

My work is influenced by sculptors, architects, poets, philosophers, ceramicists. But it’s also deeply rooted in manual labor: the file, the flame, the hammer. Mistakes are part of the process. The detail that escapes control becomes the signature.

An ethic of making

In my atelier, every choice is guided by a concrete idea of sustainability: small-scale production, no waste, non-toxic materials, carefully selected metals. I do nothing that I can’t make with my own hands. I don’t delegate beauty to polishing.

To me, beauty is also durability. A jewel must be able to age well. It must carry the marks of time without losing strength. In fact, it should gain from it.

Jewels that remain

What I seek, every time I begin working on a new piece, is something that remains. Not in the sense of eternal or perfect—but in the sense of being present. Meaningful. True.

If there’s one thing I’ve learned, it’s that a jewel doesn’t need to say everything. But it does need to say something that makes sense, that touches, that stays. A ring can be a promise. A necklace can be a legacy. An earring can be a daily choice that shifts your posture.

This is what I do, every day, in my atelier: I build forms that remain.

Glix Atelier – Turin
Visit glixatelier.com to discover all collections, new pieces, and special projects. Each jewel is one of a kind. If you want to create something together, write to me. We will make it as if it were a work of art—because it is.