In the 1960s, Rudolf Fila painted abstract structural paintings with an emphasis on the structure of the mass of painting (Informel). His abstract compositions are characterized by the expressive gesture of the brush, high masses of paint, various plastic surface structures of colored surfaces. Foreign materials, textiles, or flat objects are inserted into the high pasty layers. The expressive gesture and the wide stroke of the brush remain present in Filla's painting in the next period as well.
In the 1970s, he moved from an abstract depiction of reality and feelings to a concrete depiction or direct drawing of themes from the history of art and from photographs of the details of the human body (so-called Telovka), which he realistically paints and finally intervenes and comments on their own expressive painting gestures. The enlarged hyperrealistic details of the images thus gain another dimension thanks to color spots, brushstrokes and color layering. It also implements interventions in books and reproductions of works of art, thus changing them into new works and giving them new meanings. It also obscures or reveals the message hidden under the external display in this way. He usually does it with humor and irony.