Coming out from undefined stages Luigi Nanni's characters and instruments define themselves slowly, gradually and precisely till the extreme point of evidence which is an overhang of soul and matter, an incommensurable but concise clue of identity and uniqueness. The artist has stopped the chaotic flow of sensations to listen to human beings' singing, to the music of the violas and of the organs…to perceive a voice among many and recognize its imperceptible inflections, its vibrations, its yieldings, to reveal the longing for an universal harmony to which they aim. They are incredibly beautiful and vivid creatures, delivered from time and immortalized by the music. Still wearing their scene dresses, cast their masks off, these men and women, made of flesh and blood, they tell the story of their fight against themselves and against an horrible silence, being victims and executioner of an immense loneliness. Precious organs, lutes, and violas are still tuned and created to get in touch with the divine universe and recall the wise and gentle hand which gave them shape and voice. Luigi Nanni is the third character of this severe performance: he is the one who, looking firmly and rigorously at the world, explores its tonal potentiality, letting thick material notes and long and short rests of light and dark fall down, scratching surfaces, snatching from the color every possible gesture, recalling artists and artisans from the ancient times so that they can live a new youth.
Simona Battisti