ALESSANDRO NANNI
ALESSANDRO NANNI
oa

A DAY TOO GREAT FOR THE CALENDAR NUMBERS

«This work, resulting from his desire to rediscover his homeland in central Italy, consists of fragments. There is nothing anecdotal in these images, which could belong to any place. One only has to compare the photographs of Montefeltro circulating on the Internet, filled with fifteenth-century palaces and landscapes that wink at Renaissance harmony, to realise that Nanni’s gaze is different. […]
Nanni, in short, captures almost imperceptible signs and traces, in a sort of lyrical minimalism, where, however, the light of a pale yellow or misty white reveals that nothing is minimal. Because there is nothing that cannot be illuminated».

Elena Pontiggia

Third Prize, 10th VAF Prize (selected works from the series)
Available as fine art prints — download project PDF

 

 

 

 

oa

A DAY TOO GREAT FOR THE CALENDAR NUMBERS

«This work, resulting from his desire to rediscover his homeland in central Italy, consists of fragments. There is nothing anecdotal in these images, which could belong to any place. One only has to compare the photographs of Montefeltro circulating on the Internet, filled with fifteenth-century palaces and landscapes that wink at Renaissance harmony, to realise that Nanni’s gaze is different. […]
Nanni, in short, captures almost imperceptible signs and traces, in a sort of lyrical minimalism, where, however, the light of a pale yellow or misty white reveals that nothing is minimal. Because there is nothing that cannot be illuminated».

Elena Pontiggia

Third Prize, 10th VAF Prize (selected works from the series)
Available as fine art prints — download project PDF

 

 

 

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