Between 1983 and 1989, Milos Sejn made a set of about 50 processual scrolls. On long roles of paper or textile, he made impressions of natural surfaces and reworked them with the help of found materials and pigments typical of a given locale. Traditionally, the scroll was considered a material remnant of an “interaction with the landscape", a record of an event or of a private ritual/dialogue with nature, a typical form of conceptual art. One can, however, interpret them as images of a landscape. In his processual scrolls, Šejn demonstrates that a representation of a landscape that we have “under us” - the face of the terrain, a representation that originates from touch - is just as legitimate as a classical painting of a landscape. He teaches our senses to perceive the landscape in sculptural terms, unlike the ordinary landscape painting, which offers a view of scenery. The surface of Šejns scrolls is first and foremost an impression of the horizontal face of the earth, a place of fixation of the building fe
