Dressing up in memories to face the present (London, 2018)

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"Thus the experiences and knowledge of infancy and early youth later become the constant models and classes of all subsequent knowledge and experiences, their categories, it can be said, into which we fall, even if not always clearly awareness, everything that comes after. " Arthur Schopenhauer

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This early series of small resin sculptures encapsulates fragments of the recent past — pieces of CDs, metallic shards, and other once-familiar materials now rendered obsolete. Dressing up in Memories to Face the Present reflects on the act of preservation as both resistance and disguise: a way of confronting the contemporary through the material remains of what it has already discarded.

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Each piece is a time capsule, a condensed memory where obsolescence and intimacy coexist. The transparent resin becomes both skin and barrier — a surface that freezes motion, protecting and alienating at once.
What was once part of the everyday — a compact disc, a reflective surface, a coloured plastic — re-emerges as archaeological matter, re-enchanted through the act of encapsulation.

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The series anticipates Rizzetto’s later explorations of fragility and re-territorialisation (Secature, Crashes, Scars), here focused on the intersection between memory, materiality, and the passing of technological time.
Preserving these ephemeral objects becomes an act of empathy toward matter itself — a way of acknowledging their histories before they disappear entirely.

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In the stillness of the resin, time folds back on itself: memory becomes surface, and the obsolete becomes luminous again. Dressing up in Memories to Face the Present is both elegy and experiment; a modest archaeology of the everyday that turns the fragments of the near past into fragile mirrors of the now.

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Sculptures - Resin, mixed materials - 26x19x0.5cm