Miloš Šejn

Bohemiae Rosa
Klášter Plasy 1997

Miloš Šejn (1947 in Jablonec nad Nisou, Czech Republic) makes use of a whole range of creative tools and approaches: drawing, painting, photography, film, installations, events, etc. An important element in Šejn’s creative work is its intermediality. His works make use not only of monitors or visual machines, but also of text, words, body movement and spiritual activity itself (that is the conscience of both the creator and the viewer). A key theme and environment for Šejn’s works is the landscape (or nature, which he tends rather to perceive in its fragments). The artist also thematises subjective space and the natural image.

Šejn perceives the landscape as primary reality, the fountainhead, root or basis of creation. This landscape is to a certain degree culturally structured (there are paths through it, signs offering help). In the landscape you then find a subject around which a specific place forms. Space is oriented or hierarchised by this subject (up and down, back and forth, etc.). Such space is inhabitable, navigable. It is meant for existence or residence. The subject is not an abstract celebrity, but a corporal entity – it moves, looks around, perceives and reacts. It touches things from which a sort of indexical or natural image is created. This image has a material correlation to its model (physie eikon, naturselbstdruck, contact photographs, etc.). Šejn’s main activity is searching and collecting – pigments and products of nature. An open collection or archive is created from these materials and forms. His paintings are the result of actual events, which are not predestined, but which organise themselves, or develop from a self-regulating structure.


1970-1975 Charles University in Prague, studio of art history, aesthetic and arts and crafts
1990 – 2011 he headed an intermediate studio at the Academy of Fine Arts in Prague.
2001 visiting professor in Royal Academy of Fine Arts in The Hague
2003 visiting professor in Academy of Fine Arts in Stuttgart

– Václav Hájek, taken from