He has turned away from the abstract and now mainly works figuratively.
Samori admits that he has come a long way in finding his voice during that time. After discovering him at his 2011 exhibition, Imaginifragus at Galerie Christian Ehrentraut in Berlin, they monitored him for five years before signing him. Could that calling be to restore Italian art to its former glory?Įigen Art definitely believes in his abilities. He is bold, brazen and unbelievably fearless. He paints with old world skill and sensitivity, only to slice and dice, scrape or fold simultaneously building upon and destroying the history of painting. Samori steers away from statements and turns to the progression of the medium. While his contemporaries go abroad for inspiration, he turns to what he knows to that which is ingrained in him, that which remains timeless. Most 3 or 4 year olds would be fidgeting in church, but Samori remembers being fascinated by the Byzantine figures in the centuries-old Church of San Pietro in Trento he and his family used to go to on Sundays. This is less about work and more about calling: and that calling is inescapably Italian. He is totally and completely absorbed into the process. He rearranges space as he moves towards and away from the object of his focus. He hears the squirt of the paint from the tube. He is aware of the friction, or lack thereof, as the paint adheres to the surface. He described it as a total sensory experience. I saw the excitement in his eyes when he talked about his work. I’m actually not surprised that he has no trouble blocking out the rest of the world. He said not usually, but when he did, he listened to people like Tim Hecker. I asked him if he listened to music while he worked. Recently I skyped with Italian artist Nicola Samori. With everything that’s been going on lately, I’m having a hard time concentrating. I’m sitting in my garden, soon to be studio, and listening to Tim Hecker.
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