[5] Vožniak 's extensive set of drawings for Dante's Divine Comedy and the New Testament, created between 1958 and 1960, was his distinctive attempt to interpret traditional themes in a modern form.

The figures are radically simplified to a cone-shaped symbol dominated by large luminous eyes, the landscape is represented by a stylized desert with rocks and palm trees.

[6] At the same time, ink watercolour drawings were created, with which the painter described a kind of panopticon of freely selected characters from the real world (Genghis Khan, Savonarola, Cleopatra, Clown, etc.).

What follows are abstract paintings with detailed and virtuosic drawing, whose motifs in the form of sprouts, offshoots, tubes and knife blades refer to the real world.

The plot is set in restrictive frames and overflowing with all sorts of symbols taken from the Surrealist repertoire, combined with images of consumer idols adapted from Pop art.

The disintegration of social values and morality (after the Warsaw Pact invasion of Czechoslovakia), during the so-called normalization period is reflected in the objects that fall into decay - shattering glass, skeletons of dead animals, cracking statues and walls, breaking vaults and columns, all often against a neutral grey background in mutual isolation and silence.

These consisted of portraits of stars of the cinema screen, decorated with examples of luxurious Czech jewellery (Jeanne Moreau, 1967; Monica Vitti, 1968-1969 GMU Roudnice; Jane Fonda, 1968).

Vožniak's visions of decay are filled with social fetishes and debased idols, balancing between dreamlike imagination, ironic pop art and magical wizardry.

In a series of assemblages he uses simultaneously old and rare objects, as if removed from a collection of antiques and curiosities, alongside banal and cheap fragments of the contemporary world.

As a "tribute to the weird",[9] he combines in a hyperbolic and grotesque way the morbidity of expressive baroque wax tombstones, turn-of-the-century salon degeneracy and contemporary figurative myth (Beatles, 1976).

His works, however, do not appear expressive - they are almost monochromatic or limited to a range of shades of yellow, and the trace of paint created by the casting is close to a regular grid.

[12] Vožniak represents a particular type of visual extrovert and signifying introvert, creating, from an external perspective, an excited and sarcastic hyperbole of contemporary civilization with its animalistic urges, fetishism, and sexual promiscuity.

[12] Vožniak 's sense of the unexpected confrontations of the elements of everyday life pointed to a state of society "in which the hypocritical ideals of progress and morality conceal an obsession with sex and a fascination with horror and crime.

"[13] Jaroslav Vožniak, as a set designer and creator of various props (jewellery, amulets, altar), together with other artists, participated in the most important film of Czech cinema of the 1960s, Marketa Lazarová (directed by František Vláčil, 1967).