Two periods: I-Gouache II-ink and pencil
I- As seen above, Guidi returned to drawing and painting his own sculptures. Shortly afterwards he began painting still lives: some of his potteries, fruit and more seldom flowers (anemones, sunflowers, honesties, garlick flowers). He produced very little of these but helped him as experiment of his ‘European landscapes’, memories of our travels in the middle of the 80s. As he developed his thechnique with gouache/varnish,it marked the genuine first period. His still lives are very representational, the works of his early years with mostly themes as landscapes and nudes.
II- When Guidi found printer’s ink, his first ‘soaking in ink-pad’ (traditional book-binders technique) gives him the idea of ‘collages’, first abstract, later as he develops his technique, the scissors serve as his pencils or brushes. Most of his still lives came to existance in this way. But after some time Guidi will use more common material such as plexiglass and brushes, perfecting the ‘aquarel inks’ sometimes adding thinned Roussillon ochres which he used for his nudes in his little studio in Clermont. The still lives in ink of the second period, quite refined and almost unreal, conjure up the works of Nicolas de Staël or Giorgo Morandi. The colours are sober, either warm or cold, sometimes showing iridescence caused by soaking.
The pencils (either lead or lithographic) are always used for his still lives, very realistic, and important.
Guidi treats the intoxicating effect of the abstract by regularly returning to representational landscapes and above all to still lives: drawing the inspiration from the real world reassured him.
Garlic flowers and honesty