Enio Marques Ferreira – June 1983
The evolution of an artistic trajectory will have even more significance if the vector in progression can be initiated by its dynamics of impulsion.
Obeying this principle, without burning steps or any extra-artistic artifice, Guita Soifer, aware of her potentiality and determination, has been launching herself to a surprising ascensional climb that places her, without any favor, as a postulant to the first team of Parana’s art today.
The almost premeditation with which GS would be projecting her career might seem paradoxical, if compared to the attitude, to a certain extent random, of many artists before the universe of their speculations and desires. However, it does not give up the lucidity of purpose and the clear perspective I foresee for her future.
Despite this, in this chronology of gradually traveled advances, the greatest achievements are accentuated from 1980 onwards, in a period of clear transition, when a new awakening is supposed to have occurred, as if the doubts of the creative process or its position before the socio-cultural context surrounding it no longer needed to be questioned.
In the years before this watershed, she received in Curitiba the basic orientation of Lia Folch Costa. More recently she attended the studio of Hedva Megged, a painter who belonged to the team of the Mexican muralist Siqueiros, in São Paulo, which seems to have contributed to the structure of her work acquiring a greater chromatic and spatial balance.
After this relatively short period of training, when her production from 1979 onwards was shown in collectives and art halls of greater or lesser expression, the artist began to have her work fully recognized in the most categorized exhibitions. And, as it seems, the high turnover of the various regional salons had a preponderant role in the rapid technical and artistic development of the painter, who finds the continuous exchange of information and the direct confrontation of her work with that of artists from all over the country stimulating.
With recent incursions in the field of engraving, taken by the professional competence of master Orlando Dasilva, one can, however, affirm that GS is essentially a painter/designer who uses watercolor as a fundamental element in her creative work.
Stripping herself of the formal rigidity and the academic remains of the late seventies, her current production is acquiring with the suppression of the superfluous, the contours and the relaxed spontaneity of an adult work. And by refining the watercolor technique, which flows freely, lightly and transparently over the paper, it obtains, along with the joyful compositional scheme, the results of an unsuspected plastic unity.
With all this set of qualities, she manages to transform the simple things of daily life, which are the core of her theme, into a rich lode of inexhaustible expressive value, whose product touches and ennobles everyone who trusts the artist and who comes to be surprised by the energy of this soft and resolute woman, who would never accept the sweet amenity of social moments as a tonic and reason for her existential procedure.