Nicola Samorì currently has an ongoing exhibition at the Ana Cristea Gallery in New York City, ending on June 23rd, 2012.
Born in 1977 in Forlì, Italia, Nicola Samorì has lived and worked in Bagnacavallo for most of his life.
His first solo exhibition was in 2005 at the Palazzo Pretorio in Certaldo, entitled Seven… everything goes to hell.
Since then he has shown almost everywhere in Italy, mainly Milan, and several times in Germany.
Though Samorì isn’t at all unknown, I’ve only found him recently and he’s quickly become a favourite of mine. In the same way that I love the 17th and 18th century classic paintings, I am also prone to falling for artists who seek to destroy them. Samorì does exactly this; his art isn’t a deconstruction of classical art but a study of decomposure. It’s like taking a 17th century painting and putting it under the hot African sun for a year and waiting to see what happens. Samorì does that from the start.
At the core, it’s absolutely beautiful, both visually and conceptually. The thought of the classical art we idolize and immortalize melting and selfdestructing in front of our eyes is terrifying but at the same time liberating. “Out with the old, in with the new” as the popular saying goes, but at the same time using the old to introduce the new, and making the new about the old. Destruction as a form of honouring, decomposure as a form of rebirth.
But the images themselves are quite clear, at least to me. I may not know what I’m talking about, but I definitely like it.