For more than quarter of a century, from the late 1960's to the beginning of the 90's, Van Soghomonyan was one of the most recognized artists in Armenian ceramics. Although he felt constrained by the limitations set upon his field of artistry, Van elevated the status of Armenian ceramics beyond the scope of the former USSR. From an early standpoint, it was clear that Van's work was not to be defined as typical ceramics or even sculpture. His experience in specialized fields like sculpting, also defined as a "multidimensional painting", shows his versatility. Since 1992, in Germany the Wheel of Fortune made a determining turn, and Van's gift in painting, being evidently hidden for years, stroke through outside. Clay and icing moved back giving a way for oil painting, which became a new creative priority. This new outburst of creative self-expression materialized not only on canvas, as expected, but also in diverse forms of art. This was another variation of author's "multidimensional painting". The artist implicitly felt the freedom of self-expression, incorporating subjection oil and canvas, like he did with chamotte and clay before. He was no longer simply an artist, but a "kunstler", an extensive notion in German, which doesn't recognize any guild or other professional limitations. In other words, he would do what his soul dictated in a definite moment. And although his soul would want and demand a great deal, it was always consonant and actual in light of reality, even if it had a sacral motive. According to Van, he always works without any artistic system or farfetched extended program. " A special mood, moment, an event or a fact, a performance or a book I read, music and other "stimuli" , that's what really matters for me, what is important. Therefore I don't recognize any dogma in art, not speaking of sequential development of emotions and thoughts. That's not for me". Understandably, Van's works are extremely emotional and vigorous. Working without preliminary sketches or "a la prima", the artist tries to capture feelings, fleeting thoughts and visions. His large-scale paintings are reminiscent of wall blocks, or fresco fragments. They are monumental. They don't have minor illustrative details. You instantly perceive these works, yet simultaneously long for continuous scrutiny, because when looking intently at Van's paintings, one tries to penetrate deeply in order to pursue and uncover other meanings. Van does not follow European fashion and new trends, yet also strives not to emphasize "the Armenian" sense of style. His canvas and sculpture are free of hackneyed national symbols. Yet the encrypted pattern of thought or mood he was in always gave his art the unmistakably shade of Armenian's. What remains obvious is only a strong combination of physical power and sensitivity. Van's paintings demonstrate his high concern about the destiny of art and spiritual culture in general. His works "Downfall of Babel", "Venice", "Altar", and "Vision" are pictorial dramas, manifested in the name of universal values. One of his best sculptures illustrates an anthropomorphosis creature, a symbiosis of a man and a machine, with a gear instead of a heart and nails, hammered into the head. This work makes one think of a new race, not innocuous for earthmen. The opus makes one feel uneasy, not groundless. Van Soghomonyan's art is comparable to that of a painter with deep rooted seeds in philosophy. He symbolizes universal issues, without being ambiguous or trying to solve any world issue. Artists never do. Without a didactic tone or sense of self superiority, Van solely emphasizes these problems cleverly and courageously. His artistic language is laconic and passionate, always distinct and comprehensible. This is a language of an artist and a citizen.