Transitioning from object to installation, Rizza bases her work on the relationship between the viewer, matter, light, and space. Her artistic practice revolves around manipulating optical phenomena capable of creating visual and spatial interactions. The artist creates environmental interferences that provoke distortions, reflections, and displacements. Although the works remain static, the movement of viewers and their surroundings reveals their dynamism, causing them to exist in symbiosis with their environment. From micro to macro scale, her work occupies both indoor and outdoor spaces, whether architectural, urban, or natural.
Self-taught, Rizza explores various technological resources that allow for the manipulation and modification of matter, from algorithmic programming parameters that define the shape of her works to cutting and casting techniques. The investigation of materials and methods is fundamental to her creative process, whether traditional or contemporary, resulting in works with precise and uniform finishes.
Since 2017, Rizza has exhibited her works in national and international exhibitions. The following year, she was invited to an artist residency in Tokyo, which resulted in a group exhibition. That same year, she was selected for the Brasília Arts Biennial at SESC, with one of her works acquired for the permanent collection. In 2019, she completed her first installation work in São Paulo, House of Energy, as well as her first public intervention in Belo Horizonte, Reflexão, supported by the Municipal Law of Cultural Incentives. In 2020, she occupied Praça Adolpho Bloch with the public artwork A Criação, which was also installed at Praça Victor Civita that same year, and a larger version was commissioned to permanently occupy the space at Praça Lindenberg Itaim, in São Paulo. In 2021, she held the solo exhibition Tudo que é uno se divide (All That Is One Divides) at Zipper Galeria, leading to her representation by the gallery. Since then, her work has been frequently featured at art fairs, as well as in commissioned projects by JHSF, Lindenberg, C6 Bank, among others. In 2024, she became part of one of the country's most significant art collections with her installation Fóton, joining Usina de Arte, a project in Pernambuco's Zona da Mata region that gathers works by local, Brazilian, and international contemporary artists in a large sculpture park.