Although she has been drawing since she was a little girl, it is only since 79 that Guita Soifer has been dedicating herself professionally to the plastic arts. Trying to make up for lost time, she made her way, a kind of parallel School of Fine Arts. Having started at the Alfredo Andersen Museum’s Free Course of Drawing, she then attends the atelier of Lia Folch (Curitiba) and Herdva M’egged (SP). Moved by the constant eagerness for improvement, she then took successive courses in serigraphy with Alex Flemming, lithography with Antonio Grosso; batique with Yeddo Litze; handmade paper with Otávio Roth; metal engraving with Orlando da Silva; drawing with Uiara Bartira; metal and monoprint engraving with Sandra Correia and drawing with Fernando Calderari.
In the most recent metal engravings, Guita Soifer practices an intimate work, transforming corners of her home, details of her bedroom, bathroom, corners of the living room into universe. From a kind of hyper-realism of poetic and nostalgic nature of the previous phase, she now moves on to freer proposals that continue, however, fascinating us by her lyricism.
First, she worked a lot with ink-technique water that allowed her to obtain in the engraving the effects of watercolor. Through her incursion into strong water – through games of light and shadow – she manages to create tonal relations that are quite rare, in a very special climate. From her world, she observes the “outside”, the landscape seen from the window, or the curious urban vision that today, is enjoyed by the roof of a building. The graphic gesturalism, with which she works the clothes poles, constitutes a transition to more abstract mono-prints – a technique that allows her to let go completely – leading to the discovery of the practice of freedom through colors.
At the same time, Guita Soifer has been developing experiences with pastel – some of which she selected for the current Curitiba Art Collective 13/87. Using the landscape as her main theme, in this series, she reveals a clear preference for large spaces, which transmit a serene and poetic vision of the world, which is not lacking, however, energy and vibration.
Following the principle that with few colors it is possible to capture all the chromium of the universe, she prefers to adopt only six colors – three hot and three cold – and does so with a mixture of freedom and rare refinement that is characteristic to her.
Here too her source of inspiration is her everyday life; the view of the urban landscape seen from the top of the building she lives in; or from the window of the hotel where she stayed in Rio; or even the aerial photos of her farm. Opting for the synthesis, the greater or lesser definition of the elements is present in a game of focus and defocalization.
At the plastic level, it draws attention to the rich possibilities it obtains with the textures that create dynamic tension points of the gesture within the composition. To obtain them, the paper is made with engraving instruments, enriching the whole with a loose positive graphics that insinuates its desire for freedom. Each technique Guita Soifer practices enriches her communication process. Her current freedom reflects the wisdom of those who are able to renew themselves in their daily lives, and the sensitivity to translate, in each work, “A New Song” – according to the words of the poet Odemar Justus: “A new song will come in the voice of the wind and the birds, opening dawns where there is a sky; planting where there is a ground, seeds of tomorrow.