Nicola Samorì

Forlì, 1977. Lives in Bagnacavallo (RA)

After receiving a solid academic training, Samorì drew inspiration from the work of Renaissance and seventeenth-century masters, meticulously and sometimes long-sufferingly breaking down their work. His painting is defined by a succession of rewritings, not only scratching the canvas, but the very postulates upon which iconography is based. Samorì lucidly and implacably analyzes the repertoire of martyrology that subconsciously accompanies anyone who has received a western education. The chiaroscuro that often permeates his works acts as the basis for his subsequent, often minimalist interventions, which bear witness to the vulnerability of these subjects, revealing their most intimate nature and questioning their existence in the world. A profile of knowing irrelevance emerges, while his review of the supposed intangibility of these icons provides fertile ground for rethinking the identity of the artist and his role as a mediator between tradition and history.

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