In 1960 the Chronotopes were born, opening the way to her research on light as a major element of an artistic reflection that combines art, philosophy and spirituality. Her work reveals the essence of form and light from which she has drawn works able to interact, through their radiation, with the invisible vibrations of space. Her art exalts the idea of a space absorbed in the immateriality of the games of reflections and light, transparency and illusion, capable of disturbing the minds.

Nanda Vigo set a poetic and cosmic dynamic, close to the theories of the German Zero Group that intended to explore the capabilities of materials, then little exploited in the artistic field, stimulating the sensations related to movement and light. Zero suggests placing man in a system of universal references that knows no limit of time or space. For conviction and affinity, Nanda Vigo is therefore linked to the German group of which she adopts the fundamental principles of «Cosmic Power», privileging exploration rather than analysis, inspired by philosophical theories rather than aesthetic doctrines. The interiors, like the objects of art, conceived by you, obey this global theory.

The shape of the pyramid is, in the work of Nanda Vigo, a reference, of initial value to the radiation of energy emanated from the pyramid of Cheope: «Light perfect, of the center of Cheopes» writes Nanda. In her text Exoteric Galte (through the cosmic dream) of 1976, the artist highlights a trilogy on three levels between real, unreal and transcendence. Three states at the base of her research, which the reflective surfaces manage to trigger «[…] determine the exact moment in which the unreal becomes real to assume the transcendent aspect of illusion».

Through the series of works Trigger of the Space, started in the 70’s, Nanda Vigo modulates and modifies our space-time, with references taken from the Cosmogonic Alphabet, The first and oldest language of writing from which Nanda extrapolates the geometric shapes of the square and the triangle. They represent respectively the earth and the sky and inspire her in the realization of pyramidal and mirror geometric elements.

The Space Stimulators are luminous sculptures with intense reflections made with mirrors and neon lights. They appear as springboards to new worlds, open doors to vast and unknown universes. They are spaces to be lived and when you penetrate them, you are captured by a multiple vision of continuous and infinite diffractions that compare the viewer to his own image and his own state of “reflection”. The reality of the body and image is questioned: the “stimulator” becomes a place of metamorphosis. To reach its mystifying dimension, the work, which acquires value only in the moment of “lived”, activates the feeling of illusion and dematerialization, the ultimate goal to which the artist aspires.

They are sculptures and determine one of the main axes of the artist’s research in the 90s and mark a transitional period, where technology and poetry complement each other to best convey the expression of vital forces and the aspiration for the tree’s emblematic verticality.

The artist gives a precise description: «The poetics of the project of these Light Trees is a story of sound, musical deviations, gathered in formal schemes that refer to the first evolution of cosmogonic signs, and that is to the symbolism of the tree, considered by ancient writings as producer of life: Roots in the earth, branch towards the sun, a logical figuration especially if the branch brings the light whose propagation in space gives us the mathematical formulation, the only one. Not relative»^2. For Nanda the Light Trees, even if they are hung on a wall, have a totemic value. The artist preserves the technological aspect in an evident poetic harmony obtained through the use of a symbology of forms capable of inducing mental suggestions.

Indeed, beyond the message of verticality, the Trees of Light are covered with fragmented screens in the form of primordial elements that refer to the Cosmogonic Alphabet: squares, rectangles, circles of fluted or frosted glass, geometric fragments of mirrors that serve as filters to deconstruct the vertical effect of neon light. In this way the object is freed from the functional dimension to become sculpture.

This box is a time travel room: a miniaturized Trip’s room that refers to the artist’s distant past and most personal memories. Nanda, in this box, captured a parcel of prehistoric life and trapped it in a maze of glass and mirrors, which reflect the blue bodies of dinosaurs, witnesses of remote times but still alive in her mind. The installation emphasizes the value of the past, a basic component of the artist’s experiment.

Nanda Vigo travels with an obsessive will the way that would allow you to glimpse a universal wisdom, through a journey that develops the ephemeral points of precious memories enclosed in minimal objects related to intimate moments of life. The dinosaurs, phantasmagorical animals drawn from archaic mythologies – which Nanda calls «Karmatiche» – are part of the intimate and universal memory and refer to the artist’s childhood, when as a child she immersed herself in reading the albums of Flash Gordon. The worlds of science fiction have shaped the soul of the child who, as an adult, projected the wonders and fears lived through this singular mythology, in dreams from which she was able to build a life of art.