As we walked through the railway leading to his studio, I spotted some of Solomostry’s rather ancient monsters on the walls, a testament to his beginnings in the graffiti movement. The double door to his studio opened up to a large and bright space. I was not only greeted by his dog Cuma, but also by the staring eyes of his monster.
Solomostry’s path began with a linear and symmetrical net of lines depicting his monster and visual identity, which later expanded into different mediums such as canvas, paper, wood, metal, glass, ceramic, and textile. He also shared with us his passion for collecting vases, especially from the 1970s.
In 2022, Solomostry had a breakthrough and broke free from the constraints of his closed net of lines, opening up his compositions. He chose to break free from the attachment to the contour line and opened up the lines on his paintings, leaving them without contours or constrictions. This liberation is manifested on an aesthetic and visual level in his artworks, which opened up a new layer for experiencing Solomostry’s art.
As we delved deeper into Solomostry’s reflection on his own oeuvre and how to develop it further, he expressed feeling overwhelmed by his artistic style towards the end of 2022, with methods and artistic processes that felt too habitual. It felt like he orchestrated a factory, which favored quantity over ingenuity and uniqueness.