The sense of movement when we view the picture is evident as one feels the form has stepped back into its larval state. The largest work in the exhibition is a painting on linen where Samorì recreates L’Âge Mûr but rewritten as if it was seen through the mediation of a small model made with re-used materials. The title L’Âge Mûr is inspired by a well-known sculpture by the French artist Camille Claudel.

His pictures oscillate between ‘wounds’ made on the original painting and the loss of the image. Samorì’s reinterpretation of Ribera's The Martyrdom of Saint Bartholomew ( Ebbro, 2011) is seen as if in a memory, but instead of the saint's skin being flayed the artist peels back the rich crimson paint from the canvas to give a totally contemporary stance to the work. Although his starting point will be a brilliantly executed copy of the original, his concern is essentially to apply a contemporary painting and sculptural approach to the works as a comment on the original piece. Siliqua, 2007 and more recently, Samorì has turned his attention to re-examining famous artworks from the Western canon, notably the paintings of Spanish seventeenth century master Jusepe Ribera. Der Neid, 2005 other works were constructed as if assembled from archeological remnants – e.g.

The gallery showcases new marble and wax sculptures as well as Samorì’s latest series of paintings on canvas, copper, linen and wood.Īt its essence, the whole corpus of Nicola Samorì's work is a profound meditation on time and the fragility of existence: His earliest works appeared to be paintings of X-rays of individuals as if seen in a morgue – e.g. Rosenfeld porcini presents L’Âge Mûr, a first UK solo exhibition of Italian artist Nicola Samorì, which follows his initial participation in the sculpture exhibition Memory and in The Continuation of Romance, a group exhibition exploring the renaissance of painting in contemporary art. Nicola Samorì: L’Âge Mûr at rosenfeld porcini, London, from October 10 to November 17, 2014

Nicola Samori by Nicola Samori