The artwork of Milo Dias is featured in the « ArtCité » exhibition held September 16th through October 16th, 2021. The month-long event had its inauguration in the Town Hall of Fontenay-sous-Bois and has several sites open to the public:
- Town Hall (Hôtel de Ville), 4 esplanade Louis Bayeurte,
- La Maison du citoyen (Citizens’ House), 16 rue du Révérend Père Lucien Aubry
- La Médiathèque Louis- Aragon, 2 avenue Rabelais
- Ancien SMU, place 8 mai 1945
- La NEF de la Halle Roublot, 95 rue Roublot
You can view Milo Dias’ artworks at the Maison du Citoyen (Citizens’ House).
A private exhibition of artworks can be consulted by appointment 1-10 October 2021 after the official launch 30 September 2021, in Parcé sur Sarthe.
Visiting hours: 10:00 a.m. – 6:00 p.m.
Site: La Galerie The Artistic Red Dot, Galerie-Écurie d’art located on a historic 15th century site, at La Saunerie, 72300 Parcé sur Sarthe
by e-mail: email@example.com
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by telephone: +33 (0)6 25 84 51 57
Milo Dias is among the artists prominently featured in «Artension» magazine issue #164 of December 2020.
After scientific studies and 10 years spent abroad in the framework of Cultural and Technical Cooperation, I do a one-year internship at the National School of Applied Arts in Paris. Then I work as a teacher in the secondary. From 1980, I led a double life as a teacher and a sculptor.
I start with modeling with a whole series of little heads that oscillate between caricature, psychological research, or social criticism. Daumier’s influence is a starting point. These little heads soon become characters on feet, where the accent continues to be given priority over facial expressions. These characters are soon accompanied by a context, with extravagant machines built from recycled materials. In this whole process, my point of view is deliberately satirical, that’s why, I quickly join the group of Critical Figuration Art.
This series of machines made in 1996 marks a turning point in my approach, by the introduction of chance and extravagance in my work. I then move away from the modeling to let myself be carried away by the imagination that results from assembling wood with other salvaged materials. Then follow several series of funny birds, animals in human form, devilish dancers, or other hybrid characters dressed as for a fashion show … From figurative, the sculptures then switch to what we call Outsider Art.
If there is a common thread between all these sculptures, whether figurative or singular, it is the human being, with these tics and his grimaces, and his deep dismay in the face of a destiny that walks between the tragic and the comic. The glance which is carried on this humanity oscillates between the humor and the sarcasm, with a retreat which wants to be criticized in the face of so much stupidity or pretension.