Il vecchio mondo sta morendo. Quello nuovo tarda a comparire. E in questo chiaroscuro nascono i mostri. (The old world is dying. The new one is slow to appear. And in this twilight, monsters are born)

Every world reaches its climax, and then ceases to exist. Between endings and beginnings, objects slip across time, collide out of sequence, and form uneasy pastiches – monsters composed of old worlds and new worlds that are yet to arrive. 

In her latest work, through fresco painting, Ginevra Petrozzi dreams of impermanence while conspiring with time. Pigments crystallise into wet lime, embedding themselves into the wall and destined to endure, under a patina of its own making. Frescos are not just a painting technique; they take the form of a temporal model. They stage time in their transformation, and in their accumulation of layers, keeping trapped underneath their skins the original drawing. 

The fresco is a medium to think about worlds in transition. Once its surface hardens, the world around it changes, and gets embedded .  The monsters of our world are these layered remnants: technologies, data, and projections crystallised from fleeting acts of inscription. What we leave behind will endure, becoming ruin for those who follow to build around. Our world, too, enters decline. Its material, cultural, and ecological traces will be inherited, re-read, and reactivated by future eyes. In these juxtapositions, the uncanny emerges as a condition that reveals how destruction binds itself to endurance, and how new worlds are always formed from the sediment of the old.