Like, for example, the photographer Joel-Peter Witkin or the sculptor Adriana Varejão, Samori occupies the Grand Guignol corner of the contemporary artworld-with its interest in shocking, and deformity and body parts-an area related to the grotesque. In this way, these works reject not only art but also anti-art, including themselves. These works can be seen as an attack on a specific period of art, or they can be more widely interpreted as a ferocious dismissal of all types of art, sweeping the whole concept of art practice to one side. Sometimes he also removes the faces of portraits from other supports and attaches them flipped over on to new heads to create voided 'holes' as in Il veleno nelle ombre (2010). Nicola Samori 21st-century oil on canvas paintings in Italy Paintings from Italy Oil paintings from Italy Hidden categories: CC-BY-SA-2. The wounding is assisted by his admiration for modernist artists like Lucio Fontana and Alberto Burri, who are known for 'mutilating' basic painting support materials, and also his interest in moulage, where he creates hideous skin diseases or injuries. His figures emerge from the darkness of the pictorial space into the light with dramatic realism. His compositions for the most part conform to Baroque chiaroscuro.

It is an emotional and physical attack on the cumulative weight of art history pressing down on contemporary European artists, believing in the power of 'irresponsibility' and 'wounding' to hit back-a retaliation in search of freedom. Samorì takes his subjects from art history: portraits, crucifixions, saints, still lifes, landscapes. Samori ridicules those civilised painted images by turning them into objects of pity or revulsion, as evidenced by Seer (2011), Agnese (2009), June 27 (crowned) (2014), and Ciclope (2020). He specialises in a form of aggressive baroque art that humiliates the neoclassical tradition exemplified by 17th-century Old Masters in the Netherlands and Bologna.

Sociopath nicola samori