About the artist:

The story of Recalcati's life before anything else is the story of a painter. Recalcati's memorable works allow us an intimacy the anguish, glory and power of Recalcati's inquest into his fragile silent meditations and brutal battle with his instrument. Recalcati's paint brush emerges as a silent drifting hope that cannot give meaning to words but is the conductor of energy during the sacrament of inspiration. The brush is a constant quiet shadow which assumes a pose of inactivity and and retirement, yet infiltrates the mind in an obessional manner. The eloquent gestures in Recalcati's work fills the viewer with a sense of awe at their assertive and autonomous existence in contrast with our diminishing sense of self. The viewer participates in these illuminating glimpses of forces within and comes to appreciate and understand the artist's intense feeling of vocation and respect for his art. The Metaphysical connection between Recalcati and his visions is preserved in these paintings. His search for identity, his presence, his absence, like the atmosphere, dissolves as he belongs to the memory that continues to take from his paintings. ---------------------------------------------------------------------- Between 1960 and 1962 he exhibited at Venice, Brussels. Its production gravitates youth, first, an informal space but, by 1960, with the cycle Impronte "(Footprints) (obtained by printing pictures of his body and his clothes directly on the canvas) he expresses his desire to go beyond these limits. In 1963 he moved to Paris where he met the painters Gilles AILLAUD, Eduardo Arroyo and Paul Rebeyrolle. In the year "70" his painting deals with themes of social commitment and represents topics such as student battles, the conditions of the working class in the peripheries of large cities between 1965 and 1971, he performed many trips to New York , Venezuela, Mexico, Cuba, Brazil and the Far East. In 1980, Recalcati moved to New York until the summer of 1985 .. In 1990 he again approaches the ceramic after his stay in Albisola Marina where he produced at the factory San Giorgio, a series of 656 vases. His interest in "landscape" New York (streets, sidewalks, reflections in puddles, the basketball courts and other portraits of players) is continued until the late "80" with the series "After Storm" (After the Storm) presented at Galerie Philippe Daverio of Milan in 1988. 1992 marks the beginning of her sculptural work in Carrara, and later in the workshop to Angeli Querceta.En 1996, return to painting. Born in 1938 in Bresso, Recalcati young forms in painting in a climate of Milan abstract tendency on the edge of the informal, but with its own personal stamp of "undoubted and refined sensibilities of the medium of drawing, rather than of matter" as Roberto presents his first solo Sanesi Milan. In the sixties it to the attention of international critics as a matter of recovering an image of intense emotions and tangible reminder of the real. Born the "imprints" with which he stared at the shapes on the canvas, the traces of the body and clothing with images of high voltage dictated by events symbolic of the anonymous chronicle of popular and proletarian existence which dragged in the barracks of the suburbs of Milan: images of the anxieties, doubts, fears, feeling inadequate in the individual within a society of mass-capitalist. Over the years his investigation succesivi man goes into a deepening and widening discourse representation of individual solitude in relation to the reality of the modern metropolis. This is how images of cool objectivity, the city built as a large collage and no matter if it's Paris, New York or London, the reference is to the life fraught with conflict, full of tension, marked by the logic of the market economy, manufacturing , by technology, by international events, population growth, wars and political conflicts. Times change, change scenarios, but it seems that the problems do not stop at all, only change form and expression. Reports unresolved, therefore, remains unresolved as the sense of emptiness and absence, which has always been a leader in the work of Recalcati, even when, in the nineties, he decided to give up painting to concentrate on sculpture in marble and terra cotta. Strongly feel the need to shape a new language, with renewed energy and strength, "a fantastic new images and arcane - as puntuallizza Giovanni Anzani in the catalog - which blend harmoniously forms of fiction, elements of abstract and figurative motifs, tested previously .... Where once more emerges a way of working against the current, developed on the basis of a lively imagination and a disenchanted linguistic choice that led Recalcati to look and penetrating reality without hesitation "