Mystic Surrealism became the instrument of Mäkilä's inner vision. Mäkilä did not want to rely on pure imagiantion in his endeavour to reach a deeper reality of the soul and to reveal his own inner world, aiming instead at bringing to the surface involuntary associations lying in the depths of the mind. Truth was hidden somewhere and waited to be revealed. Fantasy (1933) and Summer Night (1938) belong to a mystic and meditative world, lacking the threatening atmosphere of the visions of many continental Surrealists.
One of the most profound questions addressed by Otto Mäkilä's art
was the credibility of art:
The secret of creative work to my
mind lies in the fact that it produces a new kind of earnestness in
place of experimentation, certainty in place of uncertainty. How this
is to be achieved is another story, but unless we keep an eye on this
matter, we are left to drift without a compass, without a sun, without
stars, without faith.
Past, Present of Future? Problems of Orientation in the 20's and 30's
Ernst Krohn : Koulutyttö
Sakari Tohka : Nuoruus
Eemu Myntti : Uimarannalla
Yrjö Saarinen : Lepohetki
Vilho Lampi : Raita
Saunan katto
Eero Nelimarkka : Neiti Kekäläinen
The Noise and Quiet of the City
Väinö Kunnas : Kaupunkikuva
Harmaa tanssi
Sulho Sipilä : Luistinrata
Sisäkuva
Ragnar Ekelund : Nôtre-Dame
Olli Miettinen : La Piste II
Birger Carlstedt : Paysage étrange
Edwin Lydén : Ukonilma
Otto Mäkilä : Kesäyö
Satu
Wäinö Aaltonen : Jean Sibelius
Paavo Nurmen patsas
Graniittipoika
Kahlaaja
Aleksis Kivi, luonnos