A long-term meditation on ancestry and continuity, Mazzetti’s Ancestors (Sceptre) (2012–2025) transforms a slender shaft of wood, brass, and gold into a contemporary relic. The form is reminiscent of both a ritual staff and an archaeological cosmogony through which Mazzetti invites viewers to reflect on the transmission of wisdom, prophetic authority, and the silent dialogue between past and present.

This series confronts the fear of death by reinterpreting it as a form of “dimensional absorption”: a passage into another state of existence. Through shimmering pigments and oils applied onto a silicium panel, Mazzetti shapes holographic portals which fuse natural and synthetic elements across micro and macro scales: crystalline structures and meteorites, chemical reactions, and living forms in transition, such as fossilized trees, where silicium gradually infiltrates vegetal tissue, transforming it into mineral.

The Specific Weight of the Unintelligible is a series of sculptures that challenge viewers to confront the boundaries of perception and understanding. In an age where information is often oversimplified for mass consumption, this body of work embraces ambiguity as a fundamental aspect of human experience. Drawing upon an unpredictable mix of materials and media, each piece seems to exist in a liminal space where clarity and obscurity intertwine, creating an atmosphere that demands introspection.

Over the weekend of 10–12 May 2024, earth was struck by the largest solar storm in more than a decade. While many enjoyed colourful auroras lighting up earth’s protective atmosphere, spacecraft had to endure incredibly strong solar winds and electromagnetic radiation.
Born during this very weekend, this series of sculptures-amulets refers to the apocalypse as a solar storm capable of destroying satellites in orbit and de-magnetizing all technology, potentially annihilating the activity produced by a strong artificial intelligence (AGI). “Apocalypse” has come to be used popularly as a synonym for catastrophe, but the Greek word apokálypsis - from which it is derived - means revelation. 
These ceremonial objects made of marble and gold recall magnets for solar storms. The alchemical aspect of this work series is rooted in Egyptian funerary rituals and infused with renaissance lyricism, invoking the beginning of a new era of humanism and deep ecology.

Like an epiphany, Descendants (2012–ongoing) are holographic sculptures that explore the intertwining, perception, and awareness of the biochemical and emotional connections between human beings. This ‘unified field of information’ embodies a model of a universal mind in constant evolution. An entity to which the consciousness of all sentient beings is connected, each contributing as co-creator of the world.

Drawing its title from Christopher Clark’s The Sleepwalkers: How Europe Went to War in 1914, Jacopo Mazzetti’s The Sleepwalkers (2025) brings together objects from disparate origins. The assemblage resonates with the ominous sense of somnambulism attributed by Clark to the march toward catastrophe.  Central to the composition is the monumental Bugatti column, an emblem of opulence and refined artistry. This symbol of wealth encases within it a spectral presence—a flayed skull, fully visible only when the viewer bends down, almost forcing an act of reverence or submission. Elevated on the uppermost pedestal rests the delicate figure of Saint Cecilia—a virgin martyr—here portrayed lying lifeless, her face covered by a shroud, embodying the immolated victim and byproduct of this structure. The work’s interplay of concealment and revelation draws attention to the subtle mechanisms of systemic violence, through which suffering is both produced and obscured.