Nicola Samorì‘s has designed his painting to be a question of painting itself. I didn’t come up with that one, I read it on his webpage. But looking at his work now I understand that. I read his interview and it was awesome. So should you.
How did you first begin to explore the way in which you approach and develop your paintings?
One day, while I was scratching my palette to remove dried-up colours, I have discovered the instinctive freshness of studied blends.
Explain your training and development as an artist. How did you become interested in the Baroque style?
Baroque is just one of the many voices that fill up my work. I have been absorbing different cultures and styles ever since I was a child by fully plunging in them and every time injecting in them the posterity virus.
How would you describe your work to someone who has never seen it before?
It would be like showing a painting to a blind person. It is a work with no story, it’s kind of a matter physical episode and cannot be conveyed by other media. Even photographic reproductions become adulterations.
How do you achieve the layered effects in your paintings?
By feeding my creation day by day and waiting for each work to discover its own rules. It happens sometimes. Generally I like burying many works on the same support until the conveyance of these dull forms becomes quite intense and palpable. Then I start a destructuring step by simply using my hands or a knife.
There is a darkness in your work. Where does this come from?
Each form attempt stems from a very dark plan and only comes to light with great difficulty. To me the problem is not to understand where darkness does come from, rather what can come out of it.
I think that working with light colors is more difficult and, in fact, I’m not very good at it. If then I had to cross an image, I’d like to plough through a work by Beato Angelico and never through a Magnasco scene but it is always the latter that revives when I work, never the former.
What are your beliefs about the nature of mankind? What gives our lives meaning against the eventual death and decay that claims us all?
I think man is simply against nature, kind of a virus refined through ages and ages of evolution.
I think that artistic research perceived as consolation and competitiveness is the demon that gives meaning to my days. Everyone has to discover their own.
What are some of your obsessions? What makes you happy?
The body is an obsession, I’m unable to get over the fact that I live in one, death is another obsession of mine, painting another one.
I get excited over the shaping of a strong image, either mine or others’. Always.
Your paintings often have the faces of your subjects peeled off. What is it that gives a person their identity? What is the most important layer?
I don’t think painting is the best way to give a person their figurative identity. Peeling off the faces make it possible for all the neglected parts of a representation to come to light and, as far as I am concerned, they all work even better without any kind of control. I don’t know what it is that gives a person their identity, it’s such complex matter. I definitely don’t think a portrait can eventually give it back because you can always perceive its author behind its eyes; well, maybe others’ portraits (even their removal, why not) can outline the author identity.
Who are your favorite artists, historical and contemporary?
Cimabue, Pontormo, Adolph Von Menzel, Antonio Mancini, Gino De Dominicis, just to name a few. Every day is excellent to love a new artist and neglect a loved one. I usually love authors I can make use of (or, I’d better say, who do make use of me).
Any upcoming exhibits or projects that you’d like to promote?
My forthcoming exhibition in Berlin which will be held at Christian Ehrentraut Gallery – Imaginifragus, which will be officially opened on October 28th, 2011. An exhibition that opens my work onto new spaces testing the images resistance in many different ways.