The idea of “Body as a Prison” or the Dimension of Perception of all things fits so well for the tragic figure of Bacchus or also known
as Dionysos. His Parents took him apart and cut him into thousands of pieces. For his misbehaving and freedom, his/her arrogance.
Through thousands of years, the Olympus was never seen as a world of Justice or equality. It has been the Place where fire and Wind
were created. Not a sense of doubt or complaints about worldly pain. After the Mercy of Bacchus/Dionysos’ Grandmother put him
together out of the thousand pieces he could become himself again. But doomed to be mad and crazy, to see everything and realise
everything. All his senses would awaken and would stay so…wandering and walking without aim or security, wandering through times
and worlds, walking along creation itself.

The long, long limbs of Brilant Milazimi’s figures lend themselves well to social entanglement. Suspended somewhere between childhood and adulthood, his disarmingly creepy cast of characters hold hands, lock arms, lock legs, their toothy grins far surpassing the boundaries of their faces.

Captured in reddish-pinkish hues, they seem alien, otherworldly, at times sinister, at times benign. What is certain is that they are always already in relation to one another. However ambivalent their entanglement might appear, they are forever moving with or towards their fellow beings.

In composing his paintings, Milazimi draws on memory as it blurs with everyday experience, whether collective or individual. Ever and again courting abstraction, his figurations are striking for their subtle suggestion of stories – and for all that they leave out.