My works represent ribbons flowing through space, symbolising one’s own mental images, on which a synthesis of an emotion, a landscape, a memory, a loved one and everything that strikes us in the soul are imprinted.

So the moving ribbons are then the memory and the energy that all these emotions have generated, that relive within us and that have the power to influence us even at a distance of time, when something recalls them.

A synthesis of these memories is born within me, leading me to an initial phase of analysing the real colour and the relative chromatic harmonies present in the images, to capture from them only the most essential and felt part, excluding the superfluous.
This synthesis is the result of our ability to perceive the essence and the true, felt and perceived aspect, leaving out what appears of things.
I like to think that it can become a routine for everyone to get used to extrapolating an authentic synthesis in the various aspects of life, to safeguard oneself and make one’s activities go well by making choices that lead to greater survival in every aspect of life.

In this synthesis I remain faithtrue to nature as far as colour and essence are concerned. Because real colours and their chromatic harmony are deep manifestations of nature, so much so that I spend a lot of time analysing colours and landscapes, reconstructing from this the harmonies that the universe offers us in a specific way. And so in the essentiality of colour I find my balance and I spend a lot of time on this.
Seeking and finding this balance in colour becomes a form of inner therapy and extroversion towards the world, which leads me to perceive more and live more harmoniously because it helps me find the balance between the outer and inner worlds.

I think that the correct theory of colour, studied on a scientific level, can become the heritage of everyone, starting from an adequate school education to better understand its fundamental characteristics and to give the right importance to the perception of colours in everyday life.
Why? Because its
Because knowledge of it can really help everyone’s life, bringing a spiritual balance to everyone’s behaviour that is inherent in the theory itself.
Colours are the musical notes of light, each with its own wavelength and its own assonances and complementarities. Light permeates the earth and envelops it like a thin film, leaving it up to matter to convey which colour to reveal. A dance is thus created in complete harmony in this chaotic world.
In Divisionist painting, too, a reality transpires that is beyond appearance, and what better technique then, than to divide the colour instead of proceeding by mixing, thus allowing a colouristic truth to shine through without alteration? Light is broken down to be revealed and no longer covered by mixing. . If from the real we have to see a more intrinsic, more authentic, more symbolic and more poetic reality, also the technique too must unmask this deception in order to arrive at the poetry and magic of the soul of things .

In conclusion, in my opinion, having greater mastery of colour in all its forms and uses (pictorial, fashion, design, etc.) induces an extroversion of attention towards the world around us, thus detaching us from the fixed thoughts or routines that limit us.
It also improves the ability to synthesise situations, towards a personal reinforcement of skills, which inevitably leads to living more creatively and thus to having more positive than negative memories and mental images, leading the mind to a proactive attitude towards life and to being more balanced.


Simona Snider was born in Bergamo on 5th April 1976, and got her diploma at the Giacomo and Pio Manzù Art School in Bergamo.
Her approach to painting has its origins in her adolescence, through her acquired uncle Lorenzo Zambelli, a painter from Bergamo, defined “maestro dei cieli” [master of the skies], who in time taught her the art of light in the skies and in the figurative landscape.
This was an important step towards the emotional poetic inspiration in her works of figurative nature, where little by little the spots of light and shadows created a vision of shapes, with undefined features and with a symbolic idea of the shapes that gradually came together.
Later Simona Snider frequented the workshop of the master Giovanni Franchi in Franciacorta, where she refined the various drawing and painting techniques more marked by realism.
These two experiences drove the artist to go further and add an ever greater knowledge of chromatic harmony by deepening her understanding of the key theories of great theorists such as Newton, Chevreul, Itten, kueppers.