Erik Šille: From cotton candy piety to the epitaph - Noro Lacko
Since his early work, the visual fascination of Erik Šille draws energy from sources, which are not quite usual for the medium of painting, but thanks to his artistic activities, they settled in contemporary Slovak paining quite well. The fact that Erik Šille cunningly appropriates means of expression, objects, methods, and themes of the so-called consumerist culture, pop-culture or visuality of the electronic media is a clearly identified attribute of his individual visual language. Without any problems we recognize elements known from the wild and mad visuality of the present times: comic book, animated cinema, internet, computer games, street art, graffiti, tattoo, package design, iconography of advertising and entertainment business, political propaganda all the way to the design of serially produced plastic objects including toys.
Equally clearly, it is possible to identify typically “šille-sque” use of the acrylic painting technique, applied to canvas in smooth, even and clean surfaces, often amended with soft brush drawing, almost giving an impression of geometric marks. The technique of painting, in which any traces of brushstroke are lost, hides the individual manuscript to the level of denial of the live artist's hand. The purity and strictly calculated perfection of staged micro stories is in Šille's paintings accentuated in a strong contrast to the unrestrained pollution through compositionally calculated, but in the process of painting accidentally shaped surfaces of stains, pours, sprays and gestural interventions, which are the recordings of expression and direct emotive presence of the artist's hand.
Until recently, another characteristic sign of Šille's painting was a clearly bright, shiny, “custard” or cotton candy shoreless colouring. Earnestly attacking the sense perceptions, violently inducing a strong sensory experience and misleading many observers to judging Šille's paintings in notion categories such as beautiful to the senses, or joy and pleasure of looking. But shining sweetness is more and more suppressed by much darker colours in the works from last years.
Storytelling through a picture belongs to the inherent and characteristic attributes of Šille's work. Various animal or comic book characters are usually the carriers and agents of stories. Characters in Šille's paintings find themselves in situations which are almost contrary to the clear and ideal world in which they are placed, or – if these are citations or found objects – to the world from which they come from. These situations are at least wrong if not pathological. The canvases emanate sticky sweetness of infantile naivety, childish pseudo-purity and hyped-up harmony of well-made up world, with its brightness shadowing the cruelty, rawness, brutality and perversion of the pictured situations or narrated stories.
It is the combination of all mentioned elements, but mainly storytelling through half-borrowed half-made up characters or beings placed into strongly stylized, seemingly fabled or imaginary environment, that contributed to the fact that the world constructed in Šille's paintings could be designated on one side as surreal, and on the other as strictly utopian world, inhabited by strange creatures, for which even fantastic zoology has no generic and specific names, and thirdly, as paintings “similarly to classic fairytale stories”, in which “...contrary to the fact that the author solves the current questions of good and evil, it makes no sense to search for their truthfulness...”, because “what they offer is joy and pleasure from looking...”
I will attempt to suggest a somewhat different key to the interpretation of Erik Šille's paintings. Its basis is made of question, whether Šille uses all those visual (but also musical and literary) borrowings and his own imaginative fantasy creativity in order to construct his own visual symbolic and allegoric system, which enables him to literally think about the presence, his personal life experience in order to subsequently talk about it, comment on it by the means of the hanging picture.
And at the same time, actively enter this everyday lived presence. Entering not in form of the naively understood “aesthetics”, or aesthetics reduced to hedonistic sensuality – through making of beautiful, attractive for the senses, “decorative” paintings, but through paintings, which create a much more complicated and refined aesthetic aggregate. And paintings, which quickly cross the starting line of the sensory fascination into the ethic and politics, and become engaged in a good sense.
Creation of this symbolic language continually keeps moving between two stumbling blocks. On one side, it is the threat of the cryptic, impossibility to decipher, creation of some code sequence, which is derived from highly intimate experience or feeling only understandable for Šille himself, and on the other, there is the danger of falling into excessive illustration or poster-like quality. The first case leads to the “paradox of private language”, which negates the possibility of a public communication and a thorough capturing of the meaning of Šille's paintings. The other is the opposite of thinking, denial of an effort to individually consider the problem, and it can easily lead to nodding illustrations of public truths or public secrets. While Šille (quite maliciously) likes to reach for the first one, he tries to avoid the other one.
Let us try to perceive Šille's paintings as paradoxically “realistic” engaged comments and glosses on our commonly experienced world of everyday life.
The sensory fascination of the contemporary visuality, which I consider as his starting point and a stable ingredient of Šille's work, has as every fascination a structure composed of two contradictory effects. On one side stands attraction, seduction or even infatuation, and on the other there is satiety, disgust and a feeling of inappropriateness.
Šille's visual fascination will be much more comprehensible with the background of the society-wide onset of the “pauperum population” (poignantly said), when the first generations of children growing up in front of TV screens and coming of age during the media boom of the 90's enter productive age, and the social, cultural and political communication as well. For them, the essentially wild, and relatively diversified (more accurately and paradoxically: diversified and at the same time uniform) audiovisual culture is their axiomatic environment. Certainly more axiomatic than the environment of the spoken and printed word. In my opinion, the edgy difficulty of the effects of the visual fascination, connected to its natural immediate intelligibility for the generation of Erik Šille, and for himself, did not lead Šille only to (intuitive more than rational) choice of used means of expression, but to the identification of themes and problems, which he attempts to articulate in his works.
I suspect that Šille's thinking is possible to be perceived as close or in relation to mythical-poetic thinking. But I want to emphasize that the expression mythic is not used in a sense of a mythical story, utopia, fantasy, fairytale or cock-and-bull story, but as a type of narration, which creates a frame for our experience with the world, society and ourselves, and which enables the grasp of ideas and communication of this experience. Equally, I would like to remark that I do not understand mythical-poetic thinking as some archaic for of pre-rational and pre-scientific thinking, but as an integral part and an element of our everyday existence. It seems to me, that Šille was not challenged to find the approach to this type of thinking, because it is, simply said, the medium and carrier of what I here call the mass media, popular or consumer culture. The real output of Šille is the fact in which way he managed to bend this thinking against himself, while in the first stage he used the moving powers of defiance, irony and sarcasm.
The main problem oscillating in Šille's work is, in my opinion, the feeling of loss of the “authentic” “natural” world, reality substituted by the pseudo-reality of the reality fabricated by the media. The feeling of delineation, involuntary predestination and the artificial canalisation of relationships tying one person to another, and the feeling of expropriation of existence, “lifestyle” design of the relationship to one selves. The more and more intensive belief that the life we are living is not our own, that it is the requisite life, or rather the pre-pictured and prescribed. Or also vice-versa, the life that we live, we live in such a way that we can later display, publicise and present it. The feeling that the authentic, real experience is almost impossible. Together with this feeling, the collapse of the orientation of values is deepened. I consider one of the first works, which Šille exhibited: a painting of a Madonna holding a child, with a mobile phone in one raised hand titled We are Looking for Signal (2004).
I think that Šille deliberately misuses on “mythic-poetic” narration in order to turn it against himself, and in such a way, that through this he builds his own version of the world, and such version with truthfulness of which he is convinced. The environment of this world is not surreal, neither it is utopian nor fairytale-like, but it is a picture of everyday seen and transformed by the šille-sque logics. Šille essentially proceeds as a diagnostic while building a picture of the world. He looks for the symptoms. Most frequently, he aligns them into at a first sight paradoxical pairs such as infantility and cruelness, staged make-up and destruction, fascist-like order and chaos, network, connectivity and communication collapse, and sometimes he creates whole chains or flows (of information, money, energies, excrements), or circuits and cycles (production – consummation – excretion – production – consummation and so on) for instance in painting We Also Have Our Supermarket (2004). Contrary pairs are not real opposites, because they create on indivisible whole.
Whatever is actually a real opposite is only reminded by its absence. On one side, it notifies itself through negative symptoms: unrest, nervousness, aggression of gestural intervention in shape of catastrophe, disorder, failure, “headless animals or amputated limbs, and even more often by explosions and every possible morphology of destruction”. On the other side, through positive freeing itself by using irony and sarcasm, which are often maximized by compositional use of a view, like in paintings TV Show (2004) or Monopublic (2003).
What could be the contours of the preliminary diagnosis? Deliberately exaggerating, let's try to ask whether the picture of our presence suggested by Erik Šille isn't a picture of the world where community (in places blindly, naively, genuinely, because of inability to find other solutions, or out of attachment to their own fear) believing in history of spiritual, social and political redemption (with all the for and against arguments) is being replaced by the population of cynical universality of the global market. Population of infantile, cruel, careless, confused, overgrown children heroising their own banality. The community of strict organised drill is being replaced by a line of marching satyrs. Apollo finally learned to play the lyre of Hermes. A generation without long-term memory, a generation of “tele-presence” (Paul Virilio), of the rigid here and now, unable to face the past and understand the future is coming. A society of realised, suffered or refused unfreedom and “normality” is substituted by a population of motivated, sovereign, exhibitionist, asking for manipulation trivial hedonists that has no idea that the big feast organised as a celebration of loose freedom could well be a funeral.
And then there is another Šille, Šille dark and mourning. While the first decade of his work (where the work since his first presentation during his studies in 2001 can be included and dated) is marked by his capricious, fighting irony, the other inverts. The first stage keeps something of the atmosphere of euphoria of the hope and mercy of the new beginning of the nineties. The other is submerged into hopelessness. In first, the faith that art could actually become resistance is present. In the second half, traumatic paralysis prevails. In Šille's work, the hanging picture becomes an epitaph. A painted reminder of the dead, forgotten, lost and missing things. A gradual growth of dark colours, substituting the view from top by a frontal perspective or by a pure black surface of the background, repeating motives of the last sail, unrooted burning houses, emptiness and mainly death, loss, sadness boldly move Šille towards a much more tragic form, and force us to reconsider interpretation of the older works as well.
If Šille is looking for a path to light (es wird hell was a title of his solo exhibition in 2009), it will be – at least from the view of his current work – a more Orphic than Dionysian journey, because it is only possible on Charon's barge.
Thanks for remarks and comments to Silvia Čúzyová, Gabriela Kisová and
BESKID, Vladimír: Maliarsky kód súčasného mesta. In: Flash Art CZ/SK, 1/1 sept./okt. 2006, p. 34 - 35.
The relation to surrelalism was suggested in the opening speech of Šilles exhibition in Wannieck Gallery in Brno in 2010 by Richard Adam. The question of surrealism often appears in published interviews with the author.
MICHALOVIČ, Peter: Erik Šille. Obrazy nového sveta. Exhibition text in Gallery SLSP in 2008.
GERŽOVÁ, Jana: Rozhovory o maľbe. Pohľady na slovenskú maľbu prostredníctvom orálnej histórie. Vysoká škola výtvarných umení; Slovart, Bratislava 2009, p. 353; also see: Geržová, Jana: Maľba vo veku obrazu. In: Profil súčasného výtvarného umenia; 2009, 1-2., p. 92 -94.
ČÚZYOVÁ, Silvia: Šillem - Šilleš - ŠILLE. In: Profil súčasného výtvarného umenia; 2008, 3. p. 53.
Diagnosis ŠILLERIK – different landscape of painting
I. Work characteristics: Šille's canvases bring an inflow of contemporary visuality with all attributes of current visual language. They constitute penetrative signboards of the consumerist society. A little amusing, and a little “blue-noise” dance on the theme of fake plastic paradise. Everything blooms in red in these neon gardens: blood, wine, fires or homemade nuclear explosions. Comic books, animations, advertising logos and animals, computer games, web design and “zoom of consume” are all spilled out on the canvases. All is compressed into one pictorial space of explosive cocktail of custard chroma.
There is something sweet and childishly cute in this world: shopping bags with bomber aircrafts, toys with cakes and little bombs in a burning house. In this world, there is something corrupt and murderous: supermarket glo-balcan fuckers, sharp-teethed old scratch and other ammonites drinking oil from river with a straw (in the blood for oil programme). Clean surfaces of the rational constructions of this world are often broken down by chaotic stains, flaming tongues of paint and expressive paint “pollutions”. This all is taking place in the golden cage of painting – a picture of fascination and satiety, pleasure and alienation.
The setting for the mentioned paintings are imaginary constructed urban units, or their colourful fragments with a number of communication and canalisation connections and played-out micro situations. These Orwell-like modelled landscapes of the “beautiful new” world are gradually changed for melancholic pictures of polluted land and people. The clean panel of painting is whirled over by mini stories of characters, animals and their mutants, emerging in forms of plastic toys, figurines. They are rather lost, estranged and hopeless, thrown onto the surface of the picture of a flawless world. Bureaucrats and their cadgers appear, all knowing their “how to” and offering their “howknow” (note: phonetically sounds like “shit” in Slovak) to the crowd of headless sheep. The big-eyed message “Suck my karma” is dedicated to them.
Šille often intently paints until late night. He then doesn't pick up the phone, and this is probably when all moths and night-hags keep him company while he kills his childhood dreams. Therefore he brings a different view of the world, and epitomizes a unique “fiery” element in the landscape of our paining. Just like the street artist Otex a Owad makes his street interventions with the logo of a headless bleeding angel, or asks direct questions like: “Can we brainwash our heads in such a way that they become clean?”.
II. Artist type: The above named Erik Šille, born 1978, living in Bratislava, is a practicing artist with teaching experience. He radically opposes “brown pictures” in favour of full-blown colour – toxic, signal, custard. The explosive type resigns from painterly brushwork. Favourite technique: acrylic on canvas. Preferred format: 2 x 2 meters.
III. Generation: representative of the youngest “Mc generation” (he grows up with McDonald's, Macintosh and music MC), which directly reflects the contemporary world of the mass media, and translates it back to the canvas. Pupil of the 4th Studio of Ivan Csudai, he belongs to the strong generation of painters of the 21st century, and helps to formulate the picture of Slovak painting of the last ten years.
IV. Iconography keys: Šille composes his canvases with a critical and ironic undertone. He makes his own group of iconographic motives and their meaning traces:
a) challenging of the ideal plastic world, system of power, double game perfect-defect: flags, signs, corporation logos, defenceless heroes covered in ketchup blood (Absolut style, 2004; One blood, 2005; My sweet home, Europe, 2007; Last Boating, 2009)
b) threat and disruption of the system – flames, fire, burning Bratislava Castle, nuclear explosions, airplanes, small bombs, bombed blocks of houses (Without Effect, 2004; Massive, 2005; Empty, 2007); damaged architectures, highways, bridges, canals ( Blue noise city, 2005; Silence, 2006; If there´s information here, we´ll find it, 2007; Birds fly to the hell, 2007)
c) white parasites and their metaphoric traps: monsters, hybrids, wolf biles. In some moments they overflow the entire picture surface (I miss you a lot, 2007; If there´s oil here, we´ll find it, 2007; Hope, 2008; Where are you – mostly harmless, 2009; Mr. Pig, 2009; My demons..., 2010)
d) vulnerability, disability of the system and key ideas: bandaged leg, blood, red cross, headless sheep and does (Flowers grow from my wounds, 2007; If there´s religion, we´ll find it, 2007)
e) sweet consumerism – sweet and sour conspiracy: beach cocktails, shopping bags, supermarket buildings (Saflama beach, 2004; We also have our own supermarket, 2004; Monopublic, 2003; 2 times buy, 1 time measure, 2007; We are going to the market, 2008)
f) the troubled field of immigration and environment: dark colouring, smoking chimneys, dead rivers, sidecars (CO2 positive, 2008; Amethyst deceivers, 2011; Lack of food, lack of thinking, 2011)
V. Media orientation: hetero-medial with frequent sidestepping away from the picture surface: graphic design (CD covers, t-shirt designs), book illustrations, extraction of figures from paintings – 3D print, using drill to draw on plexiglass – light boxes; sticker infection with nickname Otex a Owad + culinary experiments...
VI. Risk groups: recidivist reforestation of paintings by mini stories, illustrative decoration with small figures, decorative surfaces and expressive self-efficient brushstrokes.
VII. Diagnostic conclusion: healthy painting programme stabilized, without significant symptoms of solidification, fully capable of artistic performance and further progress, so “still fresh and šillerik”.
Report completed by Doctor b.skid
Important warning!!! This report does not consist all requisites as prescribed by law, including attachments and documents. In case of ethical barriers, difficulties or sudden nausea please contact you art historian or curator immediately.
Erik Šille is one of the most significant protagonists of Slovak painting. His creation has been rapidly profiled as early as during the first years of his studies (VŠVU, Bratislava), when he ranged himself among the first “stars“ of the painting revival connected mainly with the appearance of the IV. atelier led by Ivan Csudai.
Šille´s painting consistently and systematically represents his own artistic voice with initial stimulation in visual particularities of pop-culture, comics and street-art. Dominant recognitory feature of his creative language is a strong influence by the digital image processing which is so precise that it even reminds us of the graphic design. Yet he never falls out of his free painting creativity. In spite of the impression of the “clarified“ surfaces, a gesture is extremely important for him, frequently it even makes the essential moment of his final expression.
His creation has been shaping so far as a continual, organic process of choice and a following development or a progressive pursuing of certain ideas. Though having a persistent definition of style, Šille doesn´t stagnate in “manner“ but still innovates and seeks the new ways within his program. Strict determination of concluded collections or periods of his works would be a bit violent effort in his case. If we really want to differentiate his latest work from the previous creation, we could draw attention to certain unification and simplification of his message and also to a more compact image set-out. As time goes by, a flavor of sentiment is accentuated in his permanent irony.
In connection with Šille´s creation, city and its microcosmos is used as a main idea basis most frequently. What is far more important is the narrative dimension of his motives, often happening on the background of urban structures. When looking on his creation from a more complex view - including his drawings, illustrations and “street-art“ realizations, Šille´s personal iconography and moment of particular symbolism rise up on the spotlight. The phenomenon of a pulsating city life is only a spawn from which the fantasy “creatures“ emerge as the protagonists of his stories or “urban legends“, more precisely. With a little pathetic enthusiasm for a good thing, we can also search for small moral lessons in his paintings, in the sense of remitting to bigger or smaller sins of consumery life. His intentions are a bit more captious – criticism is mixed with admiration, negation of one phenomenon is mixed with creation of its other variant (even more exposed) and all this is present in resonant colours and motives. Predominantly, there is always a scent of sarcastic humour. Despite of
deliberate impression of particular distance and insight, his paintings are in essence highly personal artistic expressions. They get what they deserve... ?
(Author is an art theoretician)
The artistic visual fascination of Erik Šille is pumping the energy from sources which are not very common for the medium of painting. Erik Šille is sophistically taking on the objects, themes and methods from the industrial design. Without problems, we can recognize the features typical for consumerism design on his canvas: from the graphical design of packings and iconography of advertisement and entertaining industry to the design of batch production plastic objects, usually toys. Šille transfers the techniques of drawing and the composition of comics into painting, also user manuals and computer graphics. He composes the fragments of microstories of the protagonists - plastic toys and lets them pose towards a life situation.
The world of industrial design and iconography of the advertisement media represent not only the source of portrayed objects, but mainly the source of a method of the imaging. Technique of smooth homogeneous and spotless surfaces by acrylic-paint which covers all the marks and tracks of brush tool also hides (and reveals on other level) the individual autograph to the border of denial of living, physical presence of painter´s hand. The mannerism along with the series-character don´t garant anonymity only to the figures but to a painter as well.
Or to be more exact, it would garant, if the events on Šille´s paintings would´t make totally different stories. The word “or“ is a mark of a plot and plot is an engine of stories. So what are the stories which narrator Šille makes us to watch.
I am convinced that the basis of stories clearly recognizable on Erik´s paintings is a story of fascination. Visual fascination first, but visual fascination so strong that it quickly laps over the sill of political and ethic, making Šille´s painting committed at a good sense.
The plot that we are trying to figure out is the plot of fascination itself. As already mentioned, Šille is pumping the energy from sources of industrial design. That is a fascination consisting as each fascination of two contradictory affects. From one part there is a temptation, seduction or even enchantment and the other one there is satiety, repelling and feeling of uncomeliness.
The figures on Šille´s paintings find themselves in situations that are contradictory to pure and perfect world, from which they have been excluded. These situation are at least inaccurate if not pathological, and their inaccuracy is multiplied by the ungovernableness of the given situation. The tidiness and strictly and briefly calculated perfection of plastic mannered microstories significantly contrast with the unrestrained pollution of the composition consisting of stains and blots that report a chance, expression and direct emotive presence of painter´s hand.
Story of this visual paradox is a story of agression of perfect and pure light, its violence and power of seduction. It is a story of world that wants to charm us by its perfectionalised toreutics, series-character, mass availability and neatness, relying on fact that nobody will notice any error being part of production process and appertaining to it all unthinkably.
I suppose that the presence of such production error, an scratch on perfectly smooth surface, a pertubance of seemingly faultless structure is a source of really intensively experiencing the feeling of irony that is urging us, the irony of Erik Šille´s paintings.
There is no doubt that Šille belongs to those young painters that have brought back the importance to Slovak painting. Mainly the first VŠMU exhibitions of a few students from the 4th atelier of Ivan Csudai started a discussion about the “return“ or “rebirth“ of painting. In particular because of fact that their painting is not posing as posh and comlicated, and it is not playing the role of a worried neighbours who just watches more sucessful contemporaries. Thus it becomes naturally evident that the disputant must get used to it.
Also Šille´s paintings are like that, moreover they easily and wittily work with icones and symbols of thing called Recent Epoch. Šille narrates a short story by each painting in a striking form of comics where is always something on or is about to happen. It is very clear that Šille is charmed by contemporary image of the world - by bilboards, advertisement, television, comics, street style and videogames.
But when looking closely we find out that these are a bit misleading mimesis. Along with the enchantment there goes a fear. From what? Just look closer. And that is why he was awarded by Igor Kalný prize.
Many recognizable features of contemporary world as comics, computer games, cartoon films, Internet, street style, coloured by a dose of music (electronic body music, industrial, minimal, techno, noise music, etc.), are transfered to painting language and rest on the image ground culture of swinging painting. Departing point of his painting intellection is a definition of urban cut-out, city fragment, connected architectural and social structure. But the point is not in the illustrative cut-outs of city aglomeration with a dominant story of one person. It is in the imaginary construated city units with overgrowth of social “border zones“, commuticative and canalization connectors and loosened up microstories. Basic component of mentioned paintings are urban constructions, even military order of solid architectonic blocs of perfect “new wonderful“ world, reinforced by a dynamic perspective and diagonal setting in the format of painting.
Street fronts, bridges, canalizations, gas pipes, flow of regulated rivers, these all arise on the paintings. Then small figures and symbols (e.g. red deer without head, mark of McDonald´s), lost in a position of plastic toys, figures, which are abalienated and desperate thrown on the surface of painting in a perfect plastic light.
Pure and large surfaces are dedicated to this racional structure of city by Šille, restrained in the expression and realization, supporting certain articulated briefness and homogeneous mechanic character of the environment. On the other hand, there are unbound expressive surfaces and stains on the painting, smashing the perfect system by its spontaneousness, emotiveness and presence of the painter´s autograph. We are not sure about the type of iconography – are those explosions, fires, floods, bubbles, clouds, stains, leaking in of color? In any case, we are dealing with a clear “pollution“, barbarian invasion of something incalculable, changeable, naturally liquid into briefly calculated painting pattern.
This part I consider as a major weak point of Šille´s manner of work – to know the right dose of unbound feature, so it would promote the image tension and not fall into ecquilibristic splatters, coloured tongues with a shifting to a decorative expression.
Stated image dialogue of order and chaos, purity and infection, enchantment and satiety is brilliantly supported by attacking “pudding“ colourity which overfalls in both positions, intentionally agressive, signalling, another time retiring and velvet. In Šille´s case there is certainly present a searching for an own artistic language, formating of an electrising visuality of Recent Epoch in a painter´s code.
Dr. Vladimír Beskid
In Trnava on 7 June 2006
Erik Šille – Paintings of the new world
One look and you understand that these painting are not of our world. And they do not come from it. It is a systematically Utopian world inhabited by strange creatures which don´t have patronymic or generic name even in the fantastic zoology. Thus they don´t possess and don´t need names, because words are useless for them. If they occur in this world, just look on their shape, not meaning. They exist only in the visual world where everything exists only as invisible. This world even doesn´t have paintings, because it is painting itself. It was born from combinations of lines and color surfaces and its laws are born and change with every evolution phase, which is represented by individual painting. No doubt that as every other world, this world has laws as well, it is governed by certain order, yet there is no doubt that it is closer to the architectonic chaos than to the organised cosmos. In this world everything can be connected with everything but if it is really so depends on a viewer, on what kind of fictional image he or she will read. Each can be right, each can be wrong, essential is just: to enjoy the pleasure of perceiving the sense formes.
Šille´s paintings can be approached to from formal and meaning side towards the contradictions as a harmony of the composition vs. a chaos of iconographic features, a geometry vs. painter´s gesture or a “candy“ colourity reminding us of the cartoon films by Disney from one part and a vibrating feeling of uncertainty on the other. But his paintings are more than combinations of mentioned features and as the Gordian knot, they fascinate mainly because it is not easy to unknot them. Every recipient chooses a different way.
Silly protagonists and figures from his paintings, fluffy oddities and masked fairy tales characters deal with they own troubles, similar to ours. Their world with luminous advertisement bilboards and frightful grinning creatures is not that distant from ours as it may seem. The author has been building his visual language for years, being inspired by cartoon films, comics, children corner and graphic design, thus he can playfully depict without restraints also serious issues, for example the menace of home as idylic secure island (Hope home, 2009) or the ritual of last goodbye (Prezliekol som sa a vaše predstavy došli neskoro, 2008). On one of his latest paintings (Untitled, 2009) Šille depicted a ship voyage on the background of night countryside. Reminiscencies on traditional motif are present there and also on composition of romanticism and classical modern, but the melancholy of fog scenery is interrupted by typical Šille´s moments as advertisements and electrical post which symbolically cuts the night countryside. The source of light in this case is also the source of tension and longed-for day spring stays far away.