About Artistry

You could call the artist, the shaman, the fool, a pioneer who tries to make the madness of society more human and less contradictory; some of these pioneers lose their way and never come back.

Whatever we try to create with our “art”, we always bear within us the given concepts of our time. We live all the time in the shadow of hostile and aggressive demands from our environment that want us to surrender to its lust for power. We grasp at attitudes, ideologies, religions, ideas in order to make sense of the world.

Our ways of thinking have the power to turn everything into a mirror image of ourselves and our history, to create the story that sells us to our environment and creates space for us. The paradox is that we cannot exist without this gigantic supermarket of language and symbols, where our own trademark is under constant attack and competition.

About ambition,

We fill ourselves with ambitions,visions and programs. We refuse to accept anything that does not define us, confirm us. If we are made up of borrowed parts, what are the mirrors we place between us and life? Art? Poetry? Music?

Not to build up one’s personality as a fortress, not to see one’s work as a set of building blocks for a permanent ego – a great personality and so on – but to allow oneself to continually die, to fall endlessly; in other words, the ability to see without blinkers and not to petrify in an attempt to become a landmark; this means devoting oneself to life, to relaxing in the present, to enjoying existence – unconditionally

What will art look like in 100 years’ time? Human beings will be the same; technology does not transform the heart! We can ask the old questions in new ways. It remains to be seen whether they will be better formulated.

The body and the archetypal conceptions of its forms are what I portray. Its growth and disintegration, its vessels – that is where the force lies, and our journey is painful, long and perilous. There lies homecoming to a welcoming embrace. There we lose ourselves in Nature’s ancient forms. There are meetings embodied, over and over again. Ithaca. There is no difference between hand and thought, between lips and kisses, between dance and what it portrays, the knock at the door and its opening.

Sculptures are labyrinths. Relations.


1. It would be a good thing to remind many artists that their talent’s are on a loan, they do not own it.

2. Art, like dreams, is necessary, for without them we would fall apart. Life is impossible without dreams, but we must never forget that even art exists of flesh and bones. So long as we have not transformed into robots, we will always be penetrated by archaic mystique of sensation in the awe of sex, and of the nature of existence, which in the end is always impenetrable.

3. Many people would never become artists if they had not argued themselves into the idea of what it is to be one.

4. The reason why periods of transition in history have been so fertile for the artist is because it is only then that he can come from the back of beyond and still make himself heard.

5. Art for the good of society: Go there in the morning and clock out at four.

6. The task of art? It is to create infinite Rorschach blots. “Everyone has the freedom to make associations”, says the artist.

7. Put bluntly, the artist is successful thanks to his sales.

8. Art is full of the culture´s and the age´s way of “doing it”, but in the same way, the inner urge is a complete mystery. It strikes one as remarkable that one creates works of art, while the world around is falling apart; just as remarkable that one wants to carry out a sexual act in miserable, and indeed even hostile, circumstances. A lover believes that his kiss is unforgettable, and the artist, that his contribution is imperishable: both claim historical immortality.

About art history,

A free hand description of later art history, or how art is dependent on all earlier art: Realism was a grim reply to Romanticism; Impressionism threw overboard the rigid, photographic exactness of Realism; Post-Impressionism, however, did not particularly care for such still-frame images of the past; Fauvists painted like children in violent rebellion against academy; Cubists made a hell of perspective and shocked with its primitive and post-Cezannesque forms; Futurism glorified war and machine industrialism and claimed to be against tradition; Dadaism did not rest until creating a relentless stream of scandal and entirely engulfed every remaining speck of Futurism; Constructivism dreamed of painting built on non-concrete forms of nothingness; Suprematism spiritualized these foundations to icons; Bio-morph abstraction set itself against this linear-art; Surrealists simultaneously grounded their aesthetics on the subconscious cellars of inspiration, until it became time for abstract expressionism to take over with psycho-physical action painting; The low intellect of Neo-Realism and Pop-Art was a kick in the backside of abstract expressionism and its chimerical theories; Op-Art made the eyes blink with optical illusion; Conceptual art made artwork superfluous; and then came Body-Art, Land-Art, performances and programs; Video-Art, Neo-Avant-garde, merda d´artista, etc…

Thus all the thousands of converging and diverging isms take a strangling grip of each other´s throats and throw up their searing art phases in each other´s mouths. During the age of post-industrialism, these isms seek their destruction and metamorphosis at a hasty tempo to their next phase in the never-ending spiral of “progression”.

– Timo Solin