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We have to remind ourselves that Guidi was entirely a self-educated sculptor. Nevertheless, his artistic culture was profound and his esteem for Zadkune or Henry Moore is shown in some of his work.
Love, relationships and solitude are Guidi’s inspirational themes in both his first and second period. He likes the intimicy they reflect, familiarity and that is why he would always encourage people to touch his sculpures. “We only really see with our hearts (as Saint-Exupéry said before me), but above all we only really see with our hands!”
All of his sculptures ‘before me’ are aesthetically a little cold but with a beautiful presence and there are those ‘after me’ that are immediately recognizagle by their roundness and sensuality: first and second ‘period’.
THE FIRST PERIOD ( theseventies): see the following pages These first sculptures are often of a geometrical and refined frenzy, bordering on abstract. Despite a certain rigidity, the bodies stand with grace in couples or alone showing a composure, a kind of self-control. The faces are of little importance, naturally there, not to express thinking or feeling.
THE SECOND PERIOD: see page 31 and “Poem Sculptures”: Volume and roundness always showing Love.
Guidi never let his terracottas ‘naked’, mostly he covered them in graphite powder, gold powder and different waxes giving them a bronze, golden or copper-coloured effect.
Guidi in Fillerval next to his «Thinker" (before firing)
