Eduardo Höfling Milani was born on 2/18/1957 in the village of Alfred, state of New York, USA. Artist, architect and professor, resident in Brazil, he holds a bachelor's degree (1982) and a master's degree (1995) in Architecture and Urbanism from Mackenzie Presbyterian University. He holds a PhD in Education, Arts and History of Culture from the same institution (2020).

The activity as a visual artist has developed with greater emphasis in recent years, strengthening artistic concepts and focusing on the formatting of themes and techniques of the contemporary pop visual language.

Drawing has always been part of his journey and was decisive in choosing the professional path. During the architecture course, he experienced exhibitions in the academic directory that culminated in a performance at the Carbono 14 Cultural Center. Due to his training in architecture, he understands that the professional must be a protagonist, skilled in various arts. His career moved through the day-to-day of construction projects and works, product design, visual planning. Consequently, he established contact between related areas, connected to each other by aesthetic influences, such as advertising, which enlightens an artistic and media potential. Convictions about the professional universe, fostered by specializations and master's degrees, took him to the academic field, in which he served as a teacher in several university courses: UNIP, UniABC, Anhembi Morumbi. His greatest concentration of academic experience is at Mackenzie Presbyterian University for 22 years, in the knowledge areas of architecture and advertising. Founding member of the research group Language, Society, Identity: studies on media, he maintains investigative actions that are materialized in several published articles on media, semiotics and arts. In 2015, he took an extension course in contemporary art at the University of Arts of London - UAL, which stimulated him to theoretical and practical research of the artistic language present in recent works, and argued in his doctoral thesis. His current language professes trends for pop art, especially with regard to the production of advertising layouts for posters, album covers, magazines and books, however, in an evident escape from the commitment to the client or brand, to explore, thus, the freedom to insert drawing, painting, collage and assemblage techniques, which result in abstractions from the advertising world.