Other wide-ranging projects in that decade contributed to making his work widely recognisable, such as: award-winning book cover for the Czech classic Babička (The Grandmother) by Božena Němcová, his contribution to Aurel Klimt‘s animated film version of Jan Werich’s Fimfárum, and his embellishment of Prague-Žižkov’s famed tavern “At the Shot Out Eye” (U vystřelenýho oka), where his conceptions adorn everything from the tables to the head-rests he invented for the urinals.
The pictures always have a clear composition which, along with abundant use of writing, leads to a sort of Gothicism applied with equal measure to religion or pub scenes.
In 1992, however, his very human heroes provoked scandal: members of the local Catholic Church demanded that certain canvases on exhibition in the town of Znojmo be taken down or covered up.
This new precedent in the post-communist world of Czech art, and the publicity that accompanied it, became a main factor in Matin Velíšek's speedy and unsought-after celebrity.
Velíšek has since been the subject of two documentary films for Czech Television, Spring, Hell, Autumn, Winter (Jaro, peklo, podzim, zima, 1994) and The Civilian Parealist's Studio (Ateliér civilistního parealisty, 1996).