A question haunted him : to what extent the wood , matter perennially alive , it can withstand an external intervention that depauperi of the body, that the polish and adapt to the needs which normally corresponds to the metal ? Milan did not wait for answers outside : he wrote directly with pine and built in the seventies , the compositions of several elements, generically referred to as ” free-form shapes in space ” … It was plastic formulations in which the formal interest for a line perimetrante , which hulls, fickle and unpredictable, between the pasty moldings of the forms , he could not break free from the worry technological … impressive sculptures are born then bolted to hook parts made separately , and bas-relief compositions , even large , whose dynamism is promoted by a round central , eccentric , whose blinking reflexes, due to skilful coatings , magically awaken a backdrop of flickering light reflections … the thought of Milan is a synthesis of humanity and displays , through a modeling essentialized and highly communicative , icastiche forms , in which the chisel is at the same time decided and caressing , so ‘ that the morphological characteristics of the subject lie ahead which components precipue of his language …

The unbearable lightness of the wood, or the challenge , love and an open clash with the matter, the knowledge of knowing how to narrate , shape , be sure to find a malleable material . For Roberto Milan wood is life but also thought, because through the wood you can reach a form conceptualized , then think about it, you can build and dissolve the essential problems , you can dilute and meditate. The wood has its own language and the artist with the tools enters into the essence of this , he speaks the word of those who touch dialing , sewing , svellendo , cutting , tearing , it becomes more and more decision- maker of this essence … There are four roots of the earth and then the knowledge , nell’inquadramento ideological Roberto Milan : earth, fire , water and air. These four categories , in turn, represent four ways of being of the subject land utilizza.La fact that the author is associated with wood, dim with the metal , the water with the glass and the air with those essences , those presences blues that are a little the symbol of the immeasurable …

Thrusts … enthusiastic optimism suggest a positive underlying security that the hand of the artist can translate into totemic by the imposing wooden works, sometimes metaphysics. Are squared and precise edges of sculptures excavated, however, in the last of logs that have the words of history and warmth, human suffering and fascinating roughness. And ‘thanks to the presence of the two moments, studied composure and torn explosion, which the soul is sublimated in a silent contemplation of the effects of the life force … Matter warm and alive, wood, bends docile to the will of Milan, that fits inserts cold matter, metal, to represent the raw attack of phenomena incidental to the calm wisdom of existential substance … And ‘blue-veined wood in the spiritual dimension more …

Roberto Milan conceives of plastic creation as the essential tool of expression in their thinking on the links transcendental and material-physical-spiritual (…).
Knowledge of the materials (wood, Murano glass and bronze ESPECIALLY) is taken in a research em long, meticulous, allows him to activate a substantial number of solutions in the construction of sculptural works, which have greatest value even when they are designed to be applied in places, where the combination of real and symbolic elements come into direct connection signifier. The wood and bronze produce a dialogue with the environment light busy signals, enhancing the surface corrugations of which branch always from a center, motion generator transmitted to the whole work, as a whole.