Simona Weller (Rome 1940) lives and works in Calcata (VT). After long-term study stays in the East ( as far as Bangkok and Cairo), she graduated from the Rome Academy of Fine Arts. In 1973 she gained critical attention at the 10th Quadrennial in Rome, by exhibiting large abstract canvases where painting is mixed with letters and writing.

During the 1970s, she participated in the Quadriennale in Rome, the Venice Biennale (1978 – Materializzazione del linguaggio curated by Mirella Bentivoglio), the São Paulo Biennale in Brazil and in the International Kunstlerinnen in Berlin.

A multifaceted artist, she has always flanked her work as a painter (and later also as a ceramist) with that of a writer in a path of research and historical reconstruction on the presence of women in art: in 1976 she published a book investigation on the importance of women’s contributions to contemporary art ‘Il Complesso di Michelangelo‘, and an essay on female creativity ‘Il Privato come politica‘( the Private as politics).

In 1981 she took part in a series of exhibitions, curated by Cesare Vivaldi. On this occasion, Weller exhibits the work ‘Discussion on Method’: titling the entire series and the catalogue. In the 1980s and 1990s, as her artistic success grows internationally (she took part in several group exhibitions in Europe and China), she also increased her literary production. She wrote articles, studies, short stories: from 1980 to 1993, she edited an art column in the monthly magazine ‘Noi Donne’, in 1988 a monographic issue of the magazine ‘Minerva’ on women in art from the Middle Ages to the present day; in 1994 she published the long story ‘Il Pantano del Diavolo’ (The Devil’s Pantano).

1998 saw the publication of the first fictional biography of a great artist: Ritratto di Angelica ( Portrait of Angelica), dedicated to the Swiss painter Angelica Kauffmann (Avagliano Ed., has been translated in Austria and Germany ). In 2000 and 2002 followed, (Avagliano ed.) ‘Una Rosa nel cuore’ and ‘Suzanne’, both dedicated to the adventurous life of Suzanne Valadon. Finally, in 2015, the story of futurist painter Benedetta Cappa, narrated in Marinetti Amore Mio (Marlin Ed.).

In 2018, she participated in the exhibition ‘Magma il corpo e la parola nell’arte delle donne tra l’Italia e la Lituania dal 1965 ad oggi’ at the Istituto Centrale della grafica in Rome, curated by Benedetta Carpi de Resmini. In 2019, she is also took part in the exhibition ‘Il Soggetto imprevisto, 1978 Arte e Femminismo in Italia’ curated by Raffaella Perla at the Frigoriferi Milanesi( Milan);

In 2022, she participated in the exhibition ‘Ri-materializzazione del Linguaggio’ ( ‘Re-materialisation of the language’: re-edition of the project for the 1978 Biennale) at the Fondazione Antonio Dalle Nogare in Bolzano, with the work ‘Diario al muro’. In 2023 she took part in the group exhibitions: ‘Il segno è l’esemplare parlato’, Galleria Sara Zanin project, Rome; ‘Fare Uno. Dalla parola al Segno un dialogo possibile’, Galleria Erica Ravenna, Rome. In July 2023 the Merini Hall of the Galleria Nazionale d’arte Moderna in Rome, hosts the exhibit of the 1978 work ‘Diario al muro’.

In October 2023 Galleria Erica Ravenna presented Weller’s solo show ‘Frammenti di un discorso sul metodo’ (‘Fragments of a discussion on Method’) and her work is displayed by the gallery at miart 2024. In 2024, three works by the artist became part of the collection of the Calcografia Nazionale in Rome, and were presented in the exhibition ‘ACQUISIZIONI’, which opened in December of the same year.