Samorì paints weeping and tragic spaces where the imagery is raw but often unsettlingly conventional. The artist appropriates some motifs from the historical past in his faintly familiar ghost-portraiture, but, as if the curtain has been lifted from Dorian Gray’s portrait, the apparitions are deteriorating before us. The result is a trace of a haunting memory. Samorì’s work resembles a post-apocalyptic Renaissance wing at any great art museum 1,000 in years in the future, and yet it smacks of immediacy and our distinctly contemporary struggle with alienation and isolation – or a self beyond repair.