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.
it's the instrument that allows us to see images, stories, novels, but also to be moved, to communicate: it's the heart of sensations. do you remember doctor zhivago? I still think back on it, closing my eyes and once more seeing colour images: the yellow of the fields of flowers, the full whiteness of the snow, the red of the fire and the darkness of the night.
from doctor zhivago I learnt that I was no longer interested in film only for its content but above all for its ability to illuminate.
with time I made the design of light into my own film: I created the variable-image light bulb.
my blank page becomes a luminous surface that transforms itself into tablecloths, pictures and sofas of light. using the lamp from a projector, to create light, not video, to give life to surfaces with variable images, walls knocked down by the movement of light, luminous carpets to walk on and stretch out on for a better view of the ceiling... which is no longer there because the light has dematerialized it.
the edison bulb falls and smashes, the floor becomes a carpet of luminous fragments, shards of glass made of light. light triggers a dialogue with those who live it.
liv is a light that belongs to and resembles us, a light that arouses emotion and communicates. what led to study of the variable image bulb was observation of everyday objects, sensitivity in grasping all the subtleties of light that strike and accompany us.
work of research and experimentation for a new way of lighting, with the goal of meeting the needs of a demanding home lifestyle that is attentive to the possibilities of customisation; this research work on light led to the creation of a finished product. the need to observe and recognize light; the televisions that light up our ceilings and walls at home colour them with shades that appear and disappear, providing sensations of light and not content as if they were lampshades which, however, emit dynamic light.
devices that are observed not so much for their images as for the light in motion that they generate in our rooms. try turning the tv towards the wall and not towards your eyes, training your gaze to follow your mind into fantasy.
it's wonderful to make light your own, wonderful to make a place your own.
this is the spectacle of liv.