While the interchange and collaboration with the Parisian avant-garde certainly stimulated the evolution of her artistic development, it was Soldevilla’s homecoming to Cuba that same year that provoked the pivotal turning point of her unique aesthetic language. Mario Carreño, the leading artist and intellectual of the Cuban Vanguardia group, noted in the catalogue of Soldevilla’s debut solo show organized by Havana-based Lyceum Gallery in 1957: “Many who will stand in front of [her] work will find themselves equally in surprise as in wonder. With this new plastic concept, [Loló Soldevilla] creates a complete break-point from the traditional imitation of natural reality, successfully inventing a pictorial universe previously unknown” (Beatrice Gago, “El espacio cualificado. Mapa para una isla concreta,” Beatrice Gago, Más que concretos, Madrid 2015, p. 59). Executed during this watershed year of production, Sin título (1956) is a key example of Soldevilla’s artistic awakening. Using a deliberately restrained color palette—in this example, black and white –and ready-made materials such as wood panel and carved three-dimensional geometric shapes, Loló builds a seemingly simplistic relief-like construction where she employs the use of the circular and block-like shapes to successfully create new dimensions. Punctuated with the illusion of movement, she “expresses the mysteries of light and space” as an architect of a new cosmos (ibid, p. 169).
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