Ricardo Milla creates murals with watches that are stopped. But its statism is illusory, because time is inexorable, and embraces them with its infinite swing. In this gesture of contrast, an aesthetic is encoded, that of the immobile, that of the unprovided; in that place, the personal, emotional and collective time has stopped, apparently, to only be the aesthetics of the natural time, the last question.

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The reading that Milla’s does with his works in general, is certainly an unstoppable poetry on the principle of uncertainty. Without fear of errata, Milla announces that we must hesitate to believe, to think to see. Often we cannot avoid remembering the Dantesque circles in which we live immersed, but we have the consolation that there are visual producers like him who think that if life is an infernal, art is the science of consciousness.

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His systematic activity approaches the nonsense, acquires Beckettian tints, and the spectator in front of the work, before the evidence of an effort that may seem ridiculous, ends up recognizing that the power of the work is in the one that admires it and not in that series of thousands of photographs. Quoting Baudelaire: "The funny, the power of laughter is in the one who laughs and not in the object of laughter".