2013 – 2017, studied painting in Studio ±XXI led by Prof. Daniel Fischer at the Academy of Fine Arts and Design in Bratislava. In the academic year 2016/2017, completed a study stay in the Erasmus programme at Newcastle University, Great Britain, where she worked under the guidance of Neil Bromwich. 2017 – 2019, continued her studies for the Masters Degree in Studio III led by Rastislav Podhorský and Martin Špirec at the Academy of Fine Arts and Design in Bratislava. 2020, completed a postgraduate internship at Krištof Kintera’s Studio in Prague. Earlier, 2009 – 2013, she had studied painting at the Secondary School of Applied Arts in Ružomberok. 2025 and 2026, finalist in the Painting Competition.

Chylová Sekerášová’s art engages in systematic exploration of memory, reality, and layers of the human psyche. Via painting, drawing, and occasionally also the object, she creates works that are based on personal experience but simultaneously open up space for a more universal reading. She is interested in how memories form our experience of the world, and how within time they are deformed, fragmented and transformed into new signifying structures. A characteristic feature of her work is precise drawing and layering of painterly structures, via which she constructs a melancholic, in places disquieting atmosphere. Her works function as visual riddles, combining personal symbolism with art history, film language, romanticism, natural religions and contemporary pop culture. Alongside the introspective level, simultaneously they inconspicuously reflect phenomena of contemporary society, including false spirituality, manipulation, and the crisis of values. Programmatically Chylová Sekerášová works with local realia, developing a multi-layered symbolic language. In recent times her interest has shifted ever more noticeablyly to a critical reflection on social paradoxes, mechanisms of power, and the contrast between smooth outer form and moral decay. Organic motifs, above all the insect, enter her paintings as a biological corrective to human ego and social pretence.   

Her final entry Fly Food (2026) thematises the contradiction between the representation of power and the biological inevitability of decomposition. A suit is presented here as a symbol of authority, respect and social status, while the presence of flies disturbs its apparent inviolability. Via this contrast, Chylová Sekerášová creates a visual metaphor of public rhetoric, in which the smooth form often covers a morally vacuous or toxic content. As the artist herself observes, the tiny flies circling round the mouths of the figures represent a materialisation of the metaphor of ‘stinking words’. The insect becomes an uncompromising indicator of reality: while in the social space public speakers are perceived as authorities, from the perspective of natural order they lose their exceptional status and become ordinary food for flies. The artwork becomes a critical reflection on the mechanisms of power, manipulation, and the ethics of public speaking.