Between two world wars he worked as a button-maker, second-hand dealer, comb-maker, shop assistant and lathe operator in various towns of former Yugoslavia.

In 1969 Feješ died in Novi Sad, leaving behind many buttons and combs, and hundreds of pictures that are much admired for their lack of inhibition and universal appeal.

Despite his great freedom in presentation and stylization, his compositions did not exceed the domain of the explicit and the recognizable, because he took black and white postcards with monumental buildings as models, and copied them by using carbon paper, then magnified them, always adding something from his fantasy.

The absence of narration, i.e. the abstract forms, coloring, inclination to the geometrical, strong rhythm and stylization in the presentation, flatness and ornamentation point to instinctively conceived modern sensibility of Emerik Feješ.

A figure did not interest him much, but the dance of tiles, specific boogie-woogie, by which he made unique, cheerful scenery, rhapsodies of shapes and colours, behind which he used to hide, lonely, ill and fragile like a small, grey screw in the machinery of mainstream which devours everything.