In the work of Michal Žilinský, temporality, the volatility of the material substance of things and the existential effort to preserve play an essential role. His long-term interest has been the environment of the House, which is similar to an abandoned family memorial in northwestern Slovakia, a dwindling micro-world constantly updated by indirect external human or natural interference.
His most coherent output to date mapping the ambivalent space-time around the House is the videopoem AULA: The Area of Universal Latency (CG film, 21′50″, 2018´). Further expansion of this place arises indirectly in his Fragments series. These are virtual spaces of totalitarianism in tandem with classical analog photorealistic drawings (Fragment 2B: 3D and traditional graphics works, drawings & CG video loop, 3′50″, 2017; Fragment 0: pencil drawings & 3D animation, 8′40″, 2019).
He transforms surviving history of places, artifacts and events into drawings and digital animation, while confronting static media and moving images in a single installation, creating strained situations of different timelines. The themes recurring in his work are the transitions between the world inside and outside, and the specific topography - intense, exhaustive descriptions of places. An uncompromising technical solution of his works results in the fact that every place created must be occupied by the author for some time. He works with simulacrums of postmodern society, which often are themselves the content of his works.