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Guidi’s sculptures of the second period are the most fruitfull even though somewhat brief in time and they were always inspired by my poems or vice-versa. Those of which the drawings are represented in a collection with a preface written by Paul Belmondo are among the most outstanding.
The most vivid and constant source of inspiration are love and relationships represented in a tender or passionate way, pure or sensual, sometimes erotic, but also solitude with the longing and expectation of the Other, the hands alway there. Some of his most moving works are religious: Adam and Eve, Pietàs, Descent from the Cross.
The intimate sculptures, those ‘to experience’ and ‘to touch’ as he used to say, are the most important of his works.
Fréderique, who shared her life with us, is also represented in his sculptures, mostly in the Crépy-en-Valois mausoleum and the fresco ‘Un enfant est venu’ (A child has come) in which Guidi expressed his paternal love.
Returning to his painting marked nearly the end of his sculpture*, which did not stop him however, to accept official orders creating monumental sculptures
* He did however dream of returning to sculpture just before he died.
Life with the three of us
