The raw canvas, the same used in old paintings, and the gilded frames that surround each composition, refer to the artist's training and to the beginning of his career in which he worked together with his restorer father and learnt about the history of art and the techniques used in Old Master paintings and their restoration. In "Color and Light" Pistoletto brings the purity and spontaneity reminiscent of a child's first outlines: the initial drawing of the work has an indomitable and childlike quality, unencumbered by social conventions. It represents an immediate gesture that captures the essence of the artist's instinctive response to the world around him. The artwork becomes a portal to childhood memories, evoking the simplicity and wonder of those formative years. Another useful element to understand Pistoletto's artistic vision lies in understanding the work 'Metro Cubo' which exemplifies the artist's fascination for mirrors as containers of infinity. In 'Color and Light' this concept of infinity returns when applied to a single fragment of mirror. The work appears before us as a visual map, a line divides the mirror and the canvas by drawing a sort of border. Through the inclusion of the viewer and the surrounding environment, the mirror thus becomes a gateway to go further and see beyond the canvas. Like in the mirror paintings, we witness the conjunction of opposite polarities activated by the interaction between the immobile materiality of the canvas and the continuous mutation of the image in the virtual space generated by the mirror surface. The fragment of mirror offers us a double perspective, extending both in front of and behind us, capable of projecting space-time into the virtual dimension of the work: a door that connects art and life. In 'Color and Light', the fragmentation of the mirror creates a contemporary vision of the virtual nature of the reflected images and the corporeality of matter. Pistoletto said of this series: “It is a work of broken mirrors but executed in an orderly manner. The outlines produced by breaking the mirror itself are included in the mirror, and these outlines form a puzzle. The large mirror is broken and each piece takes on its own individuality. The universal figure of the mirror divides and multiplies with the breaking and cutting, becoming an innumerable quantity of single figures. Each fragment of the mirror can be considered as a person who is part of a larger mirror, that is, society. Society is like a big mirror”.