Milton does not try to collect more of his memories, he suggests living all of the beauty out there, and he achieves thank to the desire to relive a regression, to undo a promise, to set aside reasonableness about time, to embrace the simplicity of a life we all want to live. Everything that surrounds the viewer seems almost void, and the viewer who passes by has no other alternative than to be charmed by a painting and a technique that is free of the unnecessary. Milton's artistic production sows a scene of cultured professionalism that, at the same time is able to retrain itself towards the idea of a painting full of passion and feelings. It's like rummaging through an old chest in an attic, guardian of memories of a past time, suggestions, perfumes and souvenirs; one sees harmony and pleasure in the presence of one of Milton's pieces.
Without being ostentatious, his work is present above one's (critical) eye. Milton is a very careful testimony of a "heaven" of wonder - where everything appears suspended in a poetry of rich daily facets and surprises that are difficult to turn down. All that takes to be a careful observer and comprehend is to be aware of the steps taken by the artist to create a painting that stimulates the beholder towards curiosity and memory.
The formality of those subjects which are familiar to us (men, women, children, animals, trees, cars) become important thanks to careful artistic execution that convinces us to love and be tempted to glean the "flavor" of history, the "why" of an intimate reflection that drives Milton to deprive this characters of their gaze, to propose a dual scene (black and white), to delete points of reference and to produce contors which are familiar to us, wounded by color, to fill the scene through the use of paper that becomes a co-protagonist of the color. Painting becomes a way for Milton to love, imagine and narrate a better world with stories of colored paper, and he bound to give the viewer the role of guardian of tradition and remembrance. Milton gives us moments of adept quotidianness that, without explanation, fix in our memories the wonder and fantasy of a child when we least expect it.
Roberto Sottile, Art Critic, MAON - Museo d'Arte dell'Otto e Novecento.