The influence of his idyllic early years in this lush tropical paradise is apparent in his art, both in his use of vibrant colors and in his portrayal of island people.

After he finished school he joined the "Trinidad Independent", a group of creative thinkers who questioned the social and artistic "norm" of the day and whose interests included: the abolishment of class divisions, capitalism, racism, religious extremism and prejudice against homosexuality.

[3] The magazine included articles on politics, sociology and philosophy, as well as reviews of book and art exhibitions, original poetry and short stories.

Stollmeyer left Trinidad and Tobago for New York City in the summer of 1930 and lived with his older brothers who were already working and studying there.

His work captures the character and mixed ethnicity of the Trinidad people as well as the vibrant color and the lush and varied forms of tropical foliage.

He was very active in the Greenwich Village creative community and spent much time frequenting the galleries, critiquing and learning from others art.

Much of his abstract work is on an intimate scale in gouache and reflects his continuing interest in surrealism as well as in clear and vibrant color, and in the juxtaposition of mass rather than line.

By 1959 Stollmeyer's relationship with Repkin was disintegrating and he returned to New York City briefly and then to Trinidad where he lived for the major part of each year until 1964.

This was a very productive period, marked by his return to painting Trinidadian women, in all their diversity, surrounded by the lush vibrant color of tropical flowers and foliage.