Eventually he completed his entire studies in the graphic studio of Prof. Vladimír Silovský, where there was a very free atmosphere and it was sufficient to bring one's home works several times during the year.

[3] After graduating from the Prague Academy (1952–1958), he was automatically accepted as a candidate of the Union of Visual Artists, which allowed him to apply for creative scholarships and public commissions or to acquire his own studio.

After three years, however, he was told that his works expressed a view of life that contradicted the conclusions of the 14th Congress of the Communist Party of the Soviet Union, and his support was terminated.

The hastily organised visit to the studios appealed to Pierre Restany, who, together with some others, published a series of articles on modern Czech art in the magazines Kunstwerk and Cimaise.

This was followed by the ground-breaking Exhibition D at the Nová síň Gallery in 1964, where the leading protagonists of Czech Informel presented themselves as mature individuals and their differentiation of opinion became fully apparent.

His stay in the steelworks, where he had an unlimited amount of material at his disposal and where he created seven sculptures, was gradually extended by the organisers of the symposium until 1968 and was only ended by the Invasion of Czechoslovakia by Warsaw Pact troops on 21 August 1968.

At the beginning of the so-called normalization in 1970, Aleš Veselý was among the artists who were persecuted by the regime, lost the possibility to exhibit or bid for public commissions.

Other sculptures were temporarily placed in a welding workshop on the outskirts of Prague before he managed to acquire a demolished mill and fenced-off land in the village of Středokluky.

On the recommendation of the French art theorist Pierre Restany, who visited the studio in Středokluky in the mid-1980s, Aleš Veselý was selected among the world artists who were invited to exhibit and create in Seoul during the Olympics (1988).

He worked as the head of the monumental sculpture studio at the Academy from 1990 to 2006 and then for another three years at the Jan Evangelista Purkyně University in Ústí nad Labem (2012–2015).

Between 1953 and 1956, during his annual months-long stays in Sihelné, Aleš Veselý created hundreds of landscape drawings and psychological studies of the local inhabitants.

[8] From 1959 he began to use natural materials such as stones, clay, sand and leaves in his entirely abstract paintings (the "Magma" series) and later also used found metal objects, which he fused with synthetic resin and treated with flame.

At the end of the 1950s, Aleš Veselý was one of the most significant protagonists of the Czech Informel – a wave of abstract expression that responded to the social atmosphere and the Stalinist rape of art by turning to purely subjective work with a strong existential subtext.

The work of the time was sharply opposed to the officially supported socialist realism and, with its reference to medieval mysticism and expressiveness, drew on the older tradition of Czech art from the Gothic through the Baroque to Surrealism.

The participation of the subconscious in the creative process is here a source of meaningful ambivalence – the chair is both a tortured victim and a personification of the aggressive forces of destruction.

During the second half of the 1970s, he created a number of expressive sculptural objects in the form of "Spatial Records" as welded assemblages of used metal and wooden parts (Chairs, Seats, Beds, Wagons, etc.).

The unrealised project of a giant arm with a spring and weight for the city of Hattingen, which was also conceived as a sound generator, was at the beginning of the next phase of his work in the 1980s.

In the early 1990s, he first designed in drawings and later partially realized a series of gates and corridors in which passage is threatened or impeded by a suspended burden or a pile of stones.

[8][16] From 1991 there is also Cage (National Gallery in Prague), in which a huge steel plate is held by springs inside a rectangular structure made of wooden logs.

A personal experience with Eastern culture, first in Seoul (1988) and later in Japan (Double Bench, Tokyo, 1994[17]), as well as a trip to Israel and a stay and exhibition in Chicago (1994) marked a certain shift in Aleš Veselý's work towards environmental projects.

During his stay in Philadelphia (1993), he designed a project in which a series of suspended transparent textile sheets with silk screen printing created the illusion of a huge boulder floating in space.

[24] His sculptures have been placed in public spaces around the world (Olympic Park, Seoul; Faret Tachikawa, Tokyo; Terezín; Europos Parkas, Vilnius, Lithuania; Wijk aan Zee, Netherlands, Bochum, Hamm, Germany).

[26] On 9 March 2015, a large sculpture entitled Gate of no return by Aleš Veselý was unveiled at Prague-Bubny railway station in the form of a 20-metre rail raised to the sky (symbolizing Jacob's Ladder).