Untitled 1956

Curator: As you stand here, consider "Untitled," a 1956 mixed media creation by Lolo Soldevilla, a key figure in Cuban abstract art. Editor: It feels like looking at an architect's daydream! All those circles and lines... gives off a sense of elegant order, even if I don't know what it's ordering. Curator: Indeed! Soldevilla was part of a modernist wave emphasizing pure form and geometric precision, a revolt against more traditional, representational art forms. It seems the painting tries to make its viewers confront raw forms. Editor: Interesting. For me, the real tension comes from the colors. That stark contrast between the off-white shapes on the left and that series of small dots with different tonalities pointing towards the center to the right... what a play! What did this all *mean* to her? Curator: Well, Lolo did create artworks from a deeply personal, intuitive place... While others used similar forms for a technological feel, Lolo aimed at showing an intersection of inner worlds with this new vocabulary she explored. Her approach mirrors that of the Cuban art group Los Once (The Eleven), in its pursuit of sincere abstraction rooted in lived experiences. Editor: So it's not just about geometry, then? It’s more than the semiotics? It’s a journey of something deeply embedded into one’s core, with raw form as a mean! The longer I look, the more the forms soften... it does feel quite human, quite *vulnerable*, paradoxically. Curator: Precisely. While we dissect shapes and influences, let’s remember she left us a legacy—one of daring innovation but of deeply rooted feelings and meanings through geometry, something abstract expressionists wanted to find during that time! Editor: Thanks, I see that now; not sterile design, but raw, powerful sentiment cleverly disguised behind beautiful shapes. I will see form as deeply human now!