Samorì’s obsession with the Baroque isn't just about style; it’s about the era's preoccupation with martyrdom and the grotesque. By reworking religious and classical iconography, he updates the concept of the "martyred body." In his hands, it is the painting itself that undergoes martyrdom. The smears and tears in the paint act as modern metaphors for the fragility of the human body and the erosion of historical memory. Physicality and Presence
Art critics often describe his work as "melancholic," but there is also a thrilling tension there. The scratch marks and the gouges expose the raw canvas or the underpainting, reminding us that what we are looking at is, ultimately, a constructed object. It is oil on cloth. It is a lie that tells the truth. nicola samori paintings
Nicola Samorì’s paintings are a masterclass in "creative destruction." A prominent figure in contemporary Italian art, Samorì doesn't just paint portraits or still lifes; he stages a violent, beautiful confrontation between the perfection of the past and the raw physicality of the present. The Aesthetics of Injury Samorì’s obsession with the Baroque isn't just about
The defining characteristic of Samorì’s practice is what happens after the painting is finished. Or rather, what happens to finish it. Physicality and Presence Art critics often describe his
At first glance, a Samorì painting might look like a lost masterpiece by Caravaggio or José de Ribera. However, Samorì’s true work begins only after he has achieved a "perfect" classical image. His process is defined by several key radical interventions: The Art Without Eyes of Nicola Samorì - FABIO PARIANTE
The initial surface of a Samorì painting is breathtaking. He utilizes the chiaroscuro techniques of the 17th century, bathing his figures in dramatic, often ghostly light. The flesh is rendered with a tenderness that suggests a deep love for the medium of oil paint. Standing before an untouched Samorì, you might mistake it for a lost relic found in a dusty Roman church.