The beginnings of Vašíček's artistic career were delayed by World War II – he could enter the Academy of Fine Arts only after the Liberation of the country.
Together with his friends, Moravian painters Kubíček, Matal and Vaculka, he searched for the possibilities of concentrated expression accompanied by stylized subjects and their transformation based on fauvist, cubist, futuristic, and particularly Orphist incentives.
Vašíček reacted to the topical incentives of world art, for instance by increased interest in the expression value of the surface structure of the painting matter, by return to the principles of geometric abstraction, the Freedom of Tashist painting and spontaneity of gestic art, transforming all of these incentives into his own individual version rooted in the world of the artist's original thinking.
Vašíček's paintings are conceived as a paraphrase of nonmaterial phenomena, energy, natural forces, physical and biological processes – of events in which man takes part as well.
However, they are deeply rooted in the experience of the simplest wonders of nature and the poetry of the fields, meadows, and gardens of the sunny south of Moravia.