n November 1989, Miloš Šejn exhibited a remarkable realization under the laconic name Clouds in the Prague Youth Gallery. The work forced attention in the large lunette of the last gallery hall not only to light blue flickering radiation, but also to installation. In order to assess the sense of Šejns cloud and the overall strategy of his artistic message, it is necessary to do some technological vivisection of the work.
The birth was extremely laborious. It consisted of a number of consecutive problems, mostly technical. The clouds are three coils of fabric pre-impregnated with a ferrotypic sensitive layer. It must be sprayed in a room without daylight access. Then the scrolls dry and pack up, they move to where the painter will continue to process them. Such a place has Miloš Šejn on the hill Zebín and Jičín, which was also loved by Karel Hynek Mácha. He stayed in the former quarry literally inside the mountain, where he stretched the belts and secured them with stones. He began to process them in the usua
