His rigorous production in two-tone black gouache on white paper has for several years taken as its object historical records of events, moments and turning points that mark the collective memory of the twentieth century. In these, the idea of chance, of the moment of turning a corner with no return, and particularly, of our contemporary fixation with the universal but local image, visible to all, always attentive to its decipherment, creeps in. His work derives from a double interpretation: that of the image that translates into a technique that does not allow hesitation or error, and the interpretation of the historical fact, represented as instant, biography or anecdote.

Milak points out his obsession with cinema, particularly with the political cinema of the sixties and with the minimalism of the black and white image characteristic of directors such as Andrei Tarkovsky and Béla Tarr. In his work there is a presence of the sinister, understood as "unheimlich", that is, that which is not homely, the anticipation of fear; a feeling that Raymond Chandler, the writer of crime novels, evoked in the famous phrase of his 1950 book, The Simple Act of Murder: "The streets are dark with more than night".

In The University of Disaster, the concrete reference lies in the idea of catastrophe accelerated by speed and technology, a vision of the dromosphere driven by advanced technologies and of the Anthropocene as a new geological era where man's action takes precedence over nature. For Milak, the 20th century left a trail of wars, murders and catastrophes, a fact that underlies his own experience as a witness to the dissolution of Yugoslavia and the war in Bosnia.

His work is documentary in nature. It is made under a strict discipline of historical research and extensive daily hours of workshop; the result breathes at the same time with the "simultaneity of the non-simultaneous" of contemporary consciousness and with his obsession with precision and detail manifested in his technical mastery and perfection.