Sejn’s experiences and perceptions in nature are highly diverse. For this reason, he seeks ways to translate the many aspects of his perception of nature into art and to find an appropriate visual language for it.
Over the past five years, he has continuously expanded his artistic means of expressing the transformation of his experiences of nature into art: through installations, video works, process drawings, and performance. Since the early 1990s, Milos Sejn has used new materials in his installations, presenting them in new contexts.
In “From Earth to Earth” (1991), he uses thin glass panes placed on limestone rocks from the Pekárna cave. The work addresses hardness and fragility, as well as the tension between two different materials. In the sound installation “Seventeen Points” (1991), he juxtaposes an industrial product with natural material: steel bowls filled with white sand. In the light installation “ML” (1993), Sejn illuminates pure natural pigment, spread in a circle on the floor, with brief flashes of light to create optical illusions and effects. In another work, “Turrell’s Psychic Complex” (1993), he colors ninety slate stones with ultramarine paint and attaches them to individual points of a gallery’s ceiling lighting.
In all these installations, Sejn is no longer concerned with the direct impact of nature or its simple transfer into the gallery environment. Instead, he engages in a confrontation between different materials and media, juxtaposing nature and technology, nature and culture.
Two video works from 1993 are direct recordings of nature. In “The Path Through the Javoří Stream”, one gains an immediate impression of one of his walks. The camera, held loosely in his hanging hand, follows his movement. The constant motion of the hand creates rapidly shifting, unusual combinations of perspectives.
In his second video, “Reflection”, rays of sunlight form lines and shapes on the surface of the water. They are quickly overlaid by new and ever-new rays. It is a continuous movement that also has an acoustic form. Short, aggressive sounds correspond to the energies striking the surface with intensity and being instantly reflected. The eyes and the nerves are constantly stimulated by both the movement and the sounds.

Extract from text by Simona Mehnert, Berlin, 1995

Grand G / LVNA, 1994-2012, video-sonic installation, Zlín, 14th building, view of installation / two-channel video, glass, wood, 100 x 350 x 350 cm