Carlo Gatti began drawing at the age of thirteen for the magazine “Il Calcio e Ciclismo Illustrati”. He completed classical studies. In 1977 the Italian-French Gazzetta Artemercato Internazionale assigned him the first price: 120,000 lire for a 30x40cm. In 1978 Panepinto “Contemporary Painters and Sculptors” entered the catalogue.

Since 1984 the artist no longer exhibits because he is busy with other activities. In 1997 he attended the Academy of Fine Arts in Rome (Rector Prof. Antonio Passa). In 1998 it is in the “Arte Moderna” catalog – G. Mondadori n. 34, with a price of 3,500,000 lire for a 30x40cm; again in 1998, the magazine “Quadri e Sculture” by Duccio Trombadori dedicated two pages to him in the December issue, signed by Vittorio Brauner.

In 1999 it was again in the Mondadori catalog no. 35 and again in 2000, on n. 36, with a price of 1,500,000 lire for a 30x40cm. In 2003, the “Babuino” auction house of Rome included it in the auction catalog of 11 March 2003. In the September 2005 issue, the Arte Mondadori magazine published an entire page on the artist within the “Artisti in Campania” exhibition.

I believe that making the invisible visible is the great merit of art; try to make the observer see the birth of things, the hidden of reality, it is the merit of those who paint. Spreading color on the canvas is equivalent to describing the world, whether beautiful or ugly; and the more color you do it, the better you can convey the idea.

I started like this, a long time ago, and I still continue today trying to convey something to others. I first went through raw symbolism, identifying myself with my own life and that of others. Then, refining the technique and research, I arrived at figuration. I admit that mine is a “strange” figuration: I paint still lifes on beaches, decompositions where the entire image contrasts with a dismembered plane. This is my natural path that I don’t know where it will take me again, perhaps back to the symbolism of when I began.

Painting is the link between reality and fantasy. I rely on the voice of feelings (or even senses) when I paint. That’s enough for me, and I’ll take care of the rest around me to me. In the age of computerization, technology and video I was lucky that people like what I paint.