Zorka Ságlová made three more works that can be aligned with land art, bringing hay inside a gallery, lighting nineteen bonfires on a snowy plain and laying napkins at a site associated with the Hussite wars. She was by no means the only Czechoslovakian land artist active in the early seventies. In April 1974 Jan Mlčoch climbed the Kotel Mountain in 'foul weather' and took some photographs, in an action reminiscent of Hamish Fulton. In contrast to Mlčoch's brief engagement with landcape, Miloš Šejn has built up an impressively diverse body of work since the late sixties addressing the interface between nature and the body through performance, installation and photography. And finally there was Petr Štembera, whose early work like Line in the Snow and Painting the Stones (both 1971) treated the environment as a kind of canvass. In Large Pool (1970) he had gone to an island of the Vltava and shaped two sides of a rain puddle into the sides of a triangle, only to see his intervention washed away by the rain. As the Kontact site explains, 'later pieces dealt with the relationship between the human body and a natural entity, such as Grafting (1975) when Štembera grafted a bush sprig into his arm in a way common in arboriculture, or in Sleeping in a tree (1975) when, after three sleepless nights, he spent the fourth night in a tree.'
Miloš Šejn, Zelený muž (Green Man), 2003