The "Invented" Works by Simona Weller
If is true, as has been written, that there is a delicate relationship between the lines of the horizon and the melodic lines of folk songs, such as to render almost linear and without variation the songs of seaside towns; while the variations of the low and higher regions represent the songs of the hill regions, and the melodic line is completely transformed in the high mountains, by means of pauses and the alternation of deep low notes and disturbing high ones, as if to become closely identified with the high rocky profiles of the projecting peaks hewn out against the clear sky; there is a suggestion of a parallel between the world of poetry and that of a visual language. The last work "constructed" by Simona Weller appears to offer the key to her too exposed language so as not to hide the intense "veiled" content. It is that of a strong personality, significant in effect, synthesis and poetry, the clarity of a panorama expressed through an almost unchanging continuity on the level of "writing" and extremely varied through the "melodic" range of solar and lunar colours. The horizon of the last work to which I refer is traversed for the entire length proposed by the painter by a horizontal line-plane that is not expressed geometrically and is such as to communicate a series of disturbing motifs and contents. One knows that the horizontal line is the line of death. But on the level of visual language that line may also be the division distinguishing the earth from the sky, it may suggest all the possible variations of an endless range of alternatives. Simonapast has been a continual concealment in an ambiguity of a mental, highly pictorial countryside for which only one other name comes to mind - that of a great artist: Seurat.
Roma, July 1985