The project starts from a reflection on the assessment of the material per se, that penetrates into the material itself. Nicola Martini, born in Florence in 1984, wanted to call his project Σ, or sigma (from the Gr., lat. Sigma), the eighteenth letter of the greek alphabet, summoned as a symbol signifying several different concepts in many different contexts, and chosen by Nicola Martini by virtue of to its multiple meanings. In mathematics, along with indexes, the symbol Σ represents a sum or a series, in geometry Σ is often used to describe a surface, in physics the capital letter Σ stands for the group of three particles of hyperons; these are a recurring themes in Martini’s intellectual speculation, that he transfers into effective actions on the matter, an action aiming at isolating the matter in its internal and external movements. A kind of paradox, neither a titanic task nor a romantic effort, that’s not the artist’s sake. Rather we should consider it as a kind of ritual. It’s important to keep in mind that the artist does not work on the removal of matter but rather its relocation. A relocation in space that is itself regarded as "living matter".
As the artist is used to say: "The work takes over, and eventually always wins. Even if I try to limit the matter it doesn’t shift with the space.” And again: "The space is very dense because it is so saturated that it cannot be concluded within the gallery space." "I do not think that there may be any properly inert material, and that’s true also for the materials used in architecture." If by convention we usually consider them inert, Martini’s intervention consists in shifting the sensory gap interval. Or rather, if we cannot widen our senses, we, however, we still have a certain ability to recognize our own perceptions, e.g. in a "range" between x and y. What Nicola Martini tries to carry out, even if he’s perfectly aware that this is nothing but an attempt, is to move this "range". The artist do not care of the scientific assumptions related to his work, he is much more interested in the process of investigation of the matter, considering this experience as a never-ending longing for discovery. Even if the creative process entails a sort of unconsciousness, it is also interrelated with a theoretical reorganization of what the artist has produced. In a further step the artist’s speculative approach is applied to the matter. Considering space as composed of several layers, Martini operates in the gaps among them. Within an architectural framework the matter injected by the artist will let the so-called inert materials resound, react and vibrate. Nicola Martini focuses his attention on a direct comparison between different materials. Martini acts directly on the inner forces of the matter, whether simply juxtaposing materials. The artist adds about this show: "The space is presented and is intended as a rib cage, soft and flexible at the same time, referring to its own size and constitutive matter, a natural acusmonium put in vibration" . “Sonic pulses will act on the outer surface of these materials, generating micro and macroscopic events, as well as creating levels and sublevels.”.
Nicola Martini was born in Florence in 1984. Among his solo shows: Burial deep in surfaces, Brown Space, Milan, 2009-2010; he took part in the followinggroup shows: Happy Birthday, Peep Hole, Milan, 2010; Argonauti, curated by Andrea Bruciati, Verona 2010; In full bloom, curated by Antonio Grulli, Galleria Cortese, Milan, 2010; Festa Mobile, curated by Antonio Grulli and Davide Ferri, Bologna, 2010; Zero Budget Biennal, curated by Chris Sharp and Johanna Fiducia; performance program curated by Antonio Grulli (in collaboration with Attila Faravelli), Milan, 2010; Amare le persone destinate alle tue cose, Ex Arsenale Cavalli, curated by Christian Frosi and Diego Perrone, as part of Art at Work, Turin, 2009. Among his project Laboratorio (with Luigi Presicce, Andrea Kvas, Jacopo Menzani, Vittorio Cavallini, Attila Faravelli), Brown Project Space, Milan, 2010-2011.