Nicola Samorì
No website is needed for Nicola Samori, the net is saturated with his work.
Pain and suffering a cherished religious tradition. When the deconstruction of those images falls into some of the most gifted hands, that is where Samori's poetry begins.
Agguato
Oil on wood, 2000
Nicola Samorì, an Italian contemporary artist born in 1977, has garnered international acclaim for his captivating and provocative works that blend classical aesthetics with a modern twist. Renowned for his mastery of various mediums, including painting, sculpture, and installation, Samorì’s art often explores themes of beauty, decay, and the passage of time. With a keen eye for detail and a deep understanding of art history, he creates hauntingly beautiful pieces that challenge viewers to reconsider traditional notions of art and beauty. Through his unique blend of techniques and subjects, Samorì continues to push boundaries and provoke thought in the contemporary art world.
Nicola Samorì is known for his various approaches to creating his theatrical and disturbing two- or three-dimensional images, as can be seen in the works Kazimir (2010) and Destino dell' Occhio (2011). He specialized in an aggressive baroque art form, exemplified by the old masters of the 17th century in Holland and Bologna. Samorì ridicules these painted civilized images, transforming them into objects of pity or disgust, as evidenced by Seer (2011), Agnese (2009), June 27 (crowned) (2014) and Ciclope (2020). It is an emotional and physical assault on the cumulative weight of art history pressing down on contemporary European artists, believing in the power of 'irresponsibility' and 'wounding' to fight back – a retaliation in search of freedom.
The wound in his paintings is aided by his admiration for modernist artists such as Lucio Fontana and Alberto Burri, known for eliminating the basic support materials of painting, and also by his interest in “moulage”. These works can be seen as an attack on a specific period of art, or they can be interpreted more broadly as a fierce rejection of all types of art, sweeping the whole concept of artistic practice aside.