as a child I was fascinated by projected light. my grandfather used to take me to the cinema and, with the show already started, I would slip between the rows of seats, running my hands over their profiles that changed from frame to frame, altering as if they were moving under my fingers.

the darkness of the cinema was the place where I first perceived the dynamism of light that a bulb can give me.

I was hypnotised by the walls that changed their shade, that moved and were transformed, by the peanuts in my hands taking on colours and by the faces of the people beside me, their features painted with the scenes projected by the film.

I lost all awareness of the story as I observed the light released by the film, enraptured as if sitting before an open fire; but at the cinema there was no natural light: behind all that there was a light bulb, and my interest in it led me to an understanding of how to make concrete use of that source, that light bulb which with its great intensity can interpret, passing through film, the director-designer's thought.

[...continues...]
mario nanni progettista