Mar 21, 2019 - May 25, 2019Piazzetta Nilo, 7, Naples, Napoli, 80134http://www.tizianadicaro.it/
Painting with words is the recurring theme of Weller's work. Words are chosen for their brevity and their particular spelling. For example: grass, sunrise, sea, wheat. Using oil pastels and skillfully superimposing the primaries with the complementaries, the Weller manages to create a sort of texture whose effectiveness is understood only by looking at the work from afar. At the same time these words are treated both microscopically and macroscopically. An example of this is the opening of the exhibition with a work of 2014 called Plenilunio. In this painting the artist makes use of a writing made up of macroscopic forms that should mimic fragments of a symbolic word as it could be sea. The result of the macroscopic reinterpretation of this word creates an effect of great suggestion and synergy between sign and image.
In Plenilunio a glimpse of light, rendered through vivid chromatic variations, fits into the center of the work, becoming a revealing element. It is in that detail, in fact, that the theme of the work is exalted and manifested.
The second room hosts a selection of paintings in which the practice of "painting with words" manifests itself more clearly. The works are characterized by chromatic spellings that are repeated and overlapped in a dense and continuous way. The artist uses his own particular technique in which he uses a writing obtained with solid oil that allows it to alternate and overlap with words that suggest the sensation or memory of a visual emotion like a dawn or a reflection in the sea . Images and words are not in dialogue, but they relate to each other like an Aristotelian mimesis, whose formal synthesis is to be found in the broad theme of nature. No wonder that artists like Claude Monet, Vincent Van Gogh and especially George Seurat have always been the color references of Simona Weller. These works, if studied more intimately, look like mysterious graffiti, but moving away from the painting and reaching the right distance the enigma vanishes. Then appear landscapes dominated by the sea, meadows, flowers, the sun and sometimes even the wind.
In the third room are the blackboards, works on a black background in which Weller develops real themes, as once we did at school. In them the writing becomes vivid, readable, emulating the child's spelling. But this passage is reasoned and interpreted by a precise will. The blackboards are of the geographies of thought, treated with extreme freedom and the visually tormented and almost obsessive aspect of other works becomes clear and playful in these. The meanings are never compromised by a disordered compositional structure, because the artist uses the error (cancellations) as functional to the general composition which, despite the apparent disorder, maintains an internal rhythm. The sign element as the error is of fundamental importance, as well as the childlike drawing that often creeps between words. Not surprisingly, as Claudio Strinati wrote, one of his most successful works is A blackboard for thinking. In a statement of 1973, after having exposed the first pictures of this type (blackboards and notebooks) to the Quadriennale of Rome, the artist highlights the relief experienced in this new research. The conquest of an unexpected freedom and the courage to paint what he had never dared to express, ignoring the beautiful design, the beautiful material, the beautiful painting".