[5] In 1949, she traveled to Paris as a cultural attaché for the Cuban Embassy and enrolled in the Académie de la Grande Chaumière, where she started to develop works that would later on that year, encompass her first two shows.
Among her returns to Cuba, Soldevilla traveled extensively during her career, she was influenced by the avant-garde of several countries in Europe and Latin America including Spain, Switzerland, the Netherlands, Belgium, Great Britain, Austria, Germany, Venezuela, and Brazil among others.
In 1951, she joined the artist workshop Atelier d’Art Abstrait founded by Deswane and Pillet, with whom she collaborated with for two years; she also attended a course on engraving techniques with Hayter and Cochet.
[6] Soldevilla traveled back and forth from the island exhibiting her works and garnering a group of contemporaries who would soon help her expand the influence of concrete abstraction in Cuba.
Soldevilla's education in Paris and the bonds she formed between her teachers, students and fellow contemporaries led to her producing her most important body of work in the years between 1950-1957.
Diagonals, opposing elements, contrasting colors and organic geometric style set Loló apart from her fellow contemporaries, as did her asymmetric metal kinetic sculptures.