The painting Fish II. forms a natural continuation of the chamber cycle, which also includes Fish I. – a collection of smaller formats created in parallel with the author's main work, which were often distributed outside the official gallery context. Sedliský offered his works directly, outside the system of institutions such as Galerie Dílo, among other things also in the environment of Prague pubs where he moved. It is this circumstance that gives these paintings a special character and a certain rarity: they were created independently of the official apparatus, and yet they retain their full artistic and intellectual quality. Fish II. follows on from the previous painting not only in terms of theme, but also in the way of construction. The shape of the fish is simplified, almost emblematic, yet it retains a distinct plasticity and inner dynamism. Again, Sedliský does not work with a realistic description, but with a generalization – the fish becomes a type, a symbol of a living organism embedded in the order of the world. While Fish I. appears more decorative and dynamic, Fish II. is compositionally tighter and calmer. The body of the fish is more robust, more closed into itself, and the whole seems more compact. The lines are more emphatic, the structure more solid, as if the author was looking for a more stable form within the same motif. The background is again made up of geometric and linear elements that can evoke both a water environment and an abstract system – the order in which the organic form moves. This principle corresponds to Sedlisky's reasoning: even the natural motif is understood in connection with a wider, ordered world. The color of the painting is moderate, based on muted brown and ocher tones, which support the unity of the composition and make the shape itself stand out. Together with Ryba I. and Ryba II. create a closed unit in which Sedliský explores the possibilities of simplifying the form and its meaning overlap. These paintings represent a concentrated expression of the author's thinking - the search for order, typicality and internal logic even in a seemingly simple motif.

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