Diptych 1956

Lolo Soldevilla made this Diptych with what looks like a fine brush or maybe even a ruling pen. The matte surface allows the geometric forms to float in an indeterminate space. What strikes me about this piece is the way Soldevilla embraces a kind of playful formalism. The texture isn't about thick impasto, it's more about a smooth application of thin layers of paint, creating a feeling of quiet precision. The colour palette is muted, dominated by earth tones, with accents of blue, red, and green. It's almost as if the artist is charting an unknown territory, mapping out a new visual language. Look at how each circle and semi-circle is carefully considered, placed in relation to the others. It's like a visual puzzle, inviting us to decode its secrets. The way she balances order and chance reminds me a bit of Agnes Martin. But there's also something distinctly Cuban about it, a certain warmth and vibrancy that can't be denied. Ultimately, it's a painting that invites us to slow down, to contemplate, and to get lost in its quiet beauty.