SAMORI, NICOLA
1977 Forlì/Italy

Title: Gilda.
Date: 2013/2014.
Technique: Oil and copperplate on canvas.
Measurement: 200 x 300 cm.


The work is accompanied by a certificate signed by the artist and issued by Galerie Christian Ehrentraut, Berlin from 18.03.2015



Provenance:
- - Galerie Christian Ehrentraut, Berlin

- Private collection, Berlin


Exhibition:
- TRAFO Center for Contemporary Art, Szczecin 2015


Literature:
- Exhib. cat.: Nicola Samori: RELIGO, TRAFO Centre for Contemporary Art, Szczecin 2015, ill.



- An internationally sought-after exponent of contemporary figurative painting with a distinctive, material-focused visual language

- Samorì masterfully combines old-master techniques with radical contemporary gestures

- Characteristic work poised between beauty and destruction – compelling, intellectual and possessing a powerful sensual presence



With his powerful, technically masterful works, Nicola Samorì is one of the most distinctive figures in contemporary figurative painting. Born in 1977 in Forlì, northern Italy, he studied at the Accademia di Belle Arti in Bologna, graduating with a diploma in 2004. Having received major awards early in his career, Samorì developed a distinctive artistic strategy: with old-master precision, he draws on the pictorial traditions of the Renaissance and the Baroque, only to deliberately subvert them. By scratching, scraping, and tearing the surface, he shifts the gaze from the visible to the hidden. His work is also shaped by influences from Lucio Fontana and the Arte Povera movement. The result is works of intense physical presence that oscillate between beauty and destruction, translating art-historical references into a contemporary form.



At first glance, the monumental work “Gilda” appears as an almost monochromatic surface dominated by warm brown and copper tones. Only upon closer inspection do shadowy, relief-like traces emerge in the upper part of the image, reminiscent of fragmented figures or physical imprints. The surface does not appear painted, but rather shaped, scarred, and closed again. Materiality becomes the actual image-bearer here: the copper shimmers through, the paint seems scraped away, compacted, or shifted. Within Samorì’s oeuvre, “Gilda” represents a radical reduction of figuration in favor of a direct engagement with material and surface. The representation dissolves almost entirely and becomes a trace, a memory of physicality. It is precisely in this withdrawal that the work unfolds a haunting, quiet intensity and exemplifies Samorì’s central concern: to make the hidden visible



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