Drawing has always been my way of expressing myself and communicating. I created my first book of illustrations for Polistil: the book taught parents the choice of the right toy for their children. On the last page was written the words: "Bruno Biondi, eight years made the illustrations of the book". It was 1977. At the age of 12, I could already be called a freelance designer, and many of the illustrations I made were for companies like Philips, Renault, Beiersdorf, Bayer, Manetti & Roberts. I joined the Superiors at the Institute of Art. In those years there was no research or elaboration of abstract art. The artistic studies were all dedicated to the figurative. So, and before that, my passion was to design reality as I saw it. Sketches and drawings, made in tens, depicted trucks, planes, construction sites, still lifes, faces or sculptures. During the hours of drawing at the Art Institute, in which I had enrolled in the architecture section, they took shape glimpses of buildings, perspectives of architectural corners, studies and drawings of houses or buildings. Meanwhile, I also dedicated myself to making hyper-realistic drawings or commissioned illustrations for advertising agencies with the airbrush. After finishing my studies at the Art Institute and starting the University of Architecture in Milan, I continued for a few years to devote myself to the figurative, but it was no longer the style in which I recognized myself. It was then that I started to realize my first abstract works. In 1991 the definitive turning point. At that time, despite being colorblind from birth, the color was still present in my achievements and only occasionally I made some work in black and white. The feeling that the black and white transmitted to me, however, was much more intense and consistent with my nature of colorblind. I continued to study color for some years. In 1992 some works were commissioned, and I made them loads of colour. But I perceived a robust internal effort in realising them, a sense of inadequacy and incoherence with what was my real desire: to go only to the use of black and white. Over the years colour has never entirely disappeared. My works could be colored but often there was a strong dominant black, as if I were intimately inclined to darken everything I did. The act in which the work was transformed, darkening inexorably and clouding before my eyes, was an intimate and cathartic moment for me, where it seemed clear to me that my world was a world constructed from black and white. In 1994 I was commissioned 21 works to be realized with corrugated cardboard, raw material that was made by a great European producer. All the 21 artworks I made them exclusively in black and white. In 1995, the same corrugated cardboard manufacturer commissioned me another 20 works to be realized again with its materials and also these made them entirely in black and white. 41 achievements where I finally felt free from the trouble of managing color. From then until today the colour has not disappeared in my creations, but it is an integral part of works in dark tones, so dark that the colour itself almost fades, becomes hidden, hides.