I'm colorblind from birth. My grandfather Bruno was colorblind and the gene passed to my mother and then to me. From an early age it was clear that I had difficulty recognizing colors. For me the pasta with the red sauce was blue and the green "tutu" (car) was yellow. So I did not think about how much it would affect my future life. I was too young. In elementary school I began to become aware of my anomaly. The teacher took me in her arms, showed me a fabulous series of colored pencils and asked me questions. For the first time I felt in difficulty. Different. I preferred to draw in black and white, and when I was asked to do it in color it was clear that for me it was a stretch. My parents have always played down that I was colorblind, not imposing either to paint my drawings, or asking questions about them. My first book of illustrations, which I published at eight years old, contained several drawings and my father invited me to do them in black and white. The discomfort thus vanished and everything seemed simpler and more immediate. I started drawing very early, arousing the enthusiasm of friends and family. My drawings were made in China or with a beautiful black marker. When I began to perfect my technique by drawing on large formats - my favorites - the tools I used, from watercolors to line drawings, were never in color. At high school, at the Institute of Art, I began to use the colors and the first evidence of my difficulties, friends and professors were subjected to questions, intrigued by my vision of the altered world. Then, as still today, for me human skin was green, trees entirely brown or entirely green, no subtle hue was color for me, but gray. The more the color was clear the more I saw it in black and white. All my colour spectrum was "out of phase", and so the diagnosis it has been total dyschromatopsia. Despite this anomaly, I went to work in the Advertising Agency and the only way to hide my difficulties was to ask a person of trust, who said nothing to others, how I had to create a green, a blue instead of a purple, a light blue instead of a gray, a green instead of a brown and so for orange, yellow, red and any other color. The advent of the computer allowed me to manage the colors by correctly dosing cyan, magenta, yellow and black. I made the theory and practice of the C-M-Y-K even if in any case the correct proportions of these values continued to be a problem. When I had to check the color scheme of a photo, the intense colors were a mystery and the soft ones faded into gray. But there was an event that completely changed my perception of color blindness. I was from a supplier from whom I was going to retouch the images. Discover that minimal color values such as a 2% of yellow, a 1% of black not visible on the monitor by others, were clearly perceived by me and I could report it among amazement of the experts. Daniela, a retoucher working at that studio, called me at her desk and asked me if the white background was neutral and I was able to point out that there was a small percentage of yellow or red invisible to her, but to me clearly present. My total dyschromatopsia and my magical colour spectrum so different from the common one seemed, on those occasions, no longer a limit but a sharp point. When I began to paint, I left the figurative and so a fantastic world was born, misunderstood by many; then the natural evolution was to go to the informal. My technique was to use pure colors overlapping with black. Black, the non-colour par excellence was firmly rooted in my nature, as well as white. I could not not create a canvas without a 100 -100 red was then blended in black and that vibration was fundamental for me. Over time I have created artworks only red, blue or yellow, but I have never managed to deprive them of black or white. My most potent and most sincere emotions were born from painting only in black and white. Those works were part of my exclusive inner world. I have always been fascinated by black and white photography, because thanks to that purification we get to more intense formal values. Black and white allow me to be more incisive and formally more innovative. It is my natural way of expressing myself. Today as a child, when I did the first drawings with my black marker on the sheets of white paper.